感動的消逝──二十世紀嚴肅音樂技巧與情感抽離的再思

Abstract

在二十世紀嚴肅音樂的創作景觀中，嶄新創作技法的追求時常成為一個充滿迷思的過程。本文作者由自身的創作歷程以及對其所處文化環境的觀察為出發點，試圖以哲學性的演繹過程，突顯出二十世紀嚴肅音樂創作中一種特有的「技巧與情感抽離」的現象，並藉此觀察二十世紀初的「半音主義」、「十二音列」作曲技巧、以及「噪音」等音樂創作素材的解構等主題；最後作者以「主體性的回歸」做為嚴肅藝術創作者面對嶄新世紀的自我期許與展望。

In the creative landscape of twentieth-century serious music, the pursuit of novel compositional techniques often becomes a controversial process. The author takes his own creative experiences as well as observation of the cultural environment as the starting point of view, with an attempt at philosophical deduction to underline the phenomenon of “emotional vacuum in technique” that is so unique in the field of twentieth-century serious music. Based on this viewpoint, selected topics such as “chromaticism” in the first decade of the twentieth century, “twelve-tone” technique, and "noise" as the conceptual deconstruction of musical materials, are being examinated. In conclusion, the author proposes “the return of subjectivity” as a way of self-prospect for the serious art composers at the dawn of a new century.