二十一世紀初管弦樂曲織體與音色的創作理念——以莎里亞后、陳銀淑、藤倉大、鮑克霍特為例

Abstract

現代音樂經歷豐富演變，從20世紀初風格百家爭鳴，二戰後成為主流作曲手法的序列主義與機遇主義，到反對前者而湧現的新潮流如頻譜主義、極簡主義、聲響學派、新浪漫主義等等。如今，處於網路時代的21世紀已過去近四分之一（24年），音樂風格多樣性是目前人類史最百花齊放之時刻。由於這段音樂史仍處於進行式，音樂學院裡許多學生或許因此不甚理解當下最新趨勢。身為作曲家的筆者迫切渴望跟上當下藝術發展，但同時知曉一篇碩士論文不可能有系統地歸納21世紀音樂之全貌。即使如此，筆者試著從四部當代作品窺探浩瀚星空之一角。另外，近一世紀許多作曲家在創作中愈來愈重視織體與音色的創意，賦予其左右音樂內容的地位，有時重要性甚至凌駕於音高組織之上。以此為切入點，筆者挑選四位當下知名作曲家21世紀初的管弦樂作品：莎里亞后 (1952-2023) 之《獵戶座》(2002)、陳銀淑 (1961-) 之《笙協奏曲》(2009)、 藤倉大 (1977-) 之《稀奇引力》(2013-14)、鮑克霍特 (1959-) 之《在聲音的眼中》(2017-20) 作為研究主題，探討其音樂創作理念，分析織體和音色的組合運用，從中觀察21世紀初音樂的現象，最終彙整其對自身創作之啟發，並寫成管弦樂曲《致夢》(2024)，再進行自我創作分析。Modern music has been gone through a significant evolution throughout the 20th century, transitioning from the diverse styles of early century, to the dominance of serialism and aleatoricism at post-World War II, and witnessing the emergence of opposing trends such as spectralism, minimalism, sonorism, and new romanticism. As we enter the 21st century, the internet era, nearly a quarter (24 years) has past, marking the most diverse period in the history of music. However, with the current music history still ongoing, many music students, including those from the academic settings, may struggle to keep up with the latest development. As a composer, the author is keen to stay updated with the contemporary artistic trends, although acknowledges the impossibility to summarize the current overall 21st century music systematically in a master's thesis. Nonetheless, four orchestral works composed in the early 21st century by renowned composers have been selected to delve into a corner of the vast contemporary musical world: Kaija Saariaho's (1952-2023) Orion (2002), Unsuk Chin's (1961-) Šu, Concerto for Sheng and Orchestra (2009), Dai Fujikura's (1977-) Rare Gravity (2013-14), and Carola Bauckholt's (1959-) Im Auge des Klangs (2017-20). This study explores the musical ideas and compositional techniques present in these works, with aparticular focus on the concepts and manipulation of texture and timbre, since the creativity of texture and timbre serves an important role for the evolution of music in the last hundred years. These four works serve as the focal points for a brief observation on the 21st century music. Ultimately, the author's orchestral piece, Dedication to a Dream (2024), inspired by the research results will be analyzed as the study outcome.