趙菁文陳一涵I-Han Chen2019-09-062013-10-312019-09-062013http://etds.lib.ntnu.edu.tw/cgi-bin/gs32/gsweb.cgi?o=dstdcdr&s=id=%22GN0698900069%22.&%22.id.&http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/108753本論文以法國作曲家吉拉德˙葛里塞(Gérard Grisey, 1946-1998)之室內樂作品《時間的漩渦I》(Vortex Temporum I, 1994-1996)為研究主題，探討作曲家的思維理念並且分析其作曲手法。葛里塞為法國當代最具影響力的作曲家之一，他的音樂承繼了法國獨特的和聲色彩及配器，且因為在聲響及時間上獨特的思維促成頻譜樂派的成形。 《時間的漩渦》屬於葛里塞晚期的創作，此曲主要延續他長年對「時間」的研究，並進行更深層的探索，此時期作曲家對於樂器音色的運用以及整體聲響效果的掌握皆已非常成熟，通過此曲可貼近作曲家細膩的思想與情感，本論文試圖通過頻譜樂派之美學觀點將作品中的聲響素材進行分析，對於作品中的各段落進行統整性的探討，並將其手法進一步實踐於自身的創作之中。Through analyzing French composer Gérard Grisey’s (1946-1998) instrumental chamber work Vortex Temporum I (1994-1996), this thesis investigates the composer’s way of thinking. Being one of the most influential contemporary French composers, his music inherits the unique harmonic colors and the use of instrumentation in French music. He special interpretation of time and sound made him one of the pioneers of Spectralism. Vortex Temporum I was completed in Grisey’s late years. This piece not only is an extension of his study towards “time”, it is also a display of the composer’s experience and maturity in manipulating instrumental timbre and the overall sound effect. Through studying this piece one can understand the composer’s refined thinking and emotion. This thesis aims to analyze the sound components of the work in the aspect of Spectralism. Such detailed analysis would provide myself a prototype to study and follow.葛里塞頻譜音樂泛音列時間Griseyspectral musicovertonetime