菲利普．葛拉斯的電影音樂研究：以《機械生活》、《正義難伸》、《達賴的一生》、《時時刻刻》、《魔幻至尊》五部電影為例

Abstract

菲利普‧葛拉斯 (Philip Glass,1937- )，被譽為美國當代最有影響力的音樂家之一，他除了在交響樂、歌劇有大量的作品，80年代後更積極於電影音樂的創作。葛拉斯認為電影音樂最重要的功能就是能說出內在的聲音，並強調音樂不該只是背景而已，一個好的電影音樂家能讓電影發揮更多表現力。 從他五部電影音樂作品《機械生活》、《正義難伸》、《達賴的一生》、《時時刻刻》、《魔幻至尊》，可以發現完全不同於傳統好萊塢配樂的模式，葛拉斯將極簡音樂的元素帶入電影音樂，大量的重複，隨劇情流轉製造出永恆感。本論文藉由這五部影片，探討葛拉斯在電影音樂的創作技法，並比較極簡音樂在紀錄片與劇情片的功能有何異同，由此印證葛拉斯在電影音樂創作的影響力。

Philip Glass (1937- ) is known as one of the most influential contemporary musicians in America. In addition to numerous orchestral and opera works, he has been devoted to film music since 1980s. Glass considers that the most important function of film music is to speak out the inner voice, and he emphasizes that music itself should not be served as a merely background. An excellent film music composer is who brings out more expression to a film.After looking into his five works of film music, which are “Koyaanisqatsi”、“ The Thin Blue Line”、“ Kundun”、“ The Hours”、“The Illusionist”, we can find out that they are different from traditional Hollywood music. Glass infuses the elements of minimal music into film music; as the scenes change, he uses continuous repeats to create a sense of eternality. By reviewing these films, this thesis will discuss the composition techniques which Glass uses in his film music, and it will compare the similarity and difference of the function of minimal music between documentary and fiction films. In conclusion, the thesis will then explain the influence that Glass has had on the film music composition.