金屬擊樂器在中西擊樂作品中之運用─以《解構II》、《戲》、《炫》、《Sketchbook III》為例

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题名:	金屬擊樂器在中西擊樂作品中之運用─以《解構II》、《戲》、《炫》、《Sketchbook III》為例 The Metal Percussion Instruments used in Contemporary Chinese and Western Percussion Music: In the Cases of Deconstruction II , Drama, Parade, Sketchbook III
作者:	張瀠心
贡献者:	音樂學系中國音樂組
关键词:	《金屬擊樂器戲》中西擊樂作品《解構II》《炫》《素描簿III》王小尹柯元富郭文景林桂如
日期:	2013
上传时间:	2014-01-17 15:24:08 (UTC+8)
摘要:	打擊樂器種類繁多，色彩多變新奇，中西方樂器得以相互組合產生豐富音色，使得具有當代語彙之打擊樂作品越來越多。此次研究主題以金屬擊樂器在中西擊樂作品之運用來探討，並以四首作品為例，分別為三首當代東方擊樂作品：王小尹與柯元富所改編的《解構II》，郭文景的《戲》（第六樂章）與《炫》，以及一首西方擊樂作品：林桂如《Sketchbook III》。此四首作品分別創作於1995-2013年間，運用傳統素材並打破傳統金屬擊樂器演奏方式及音樂語法。筆者經由了解樂曲之創作背景、樂曲分析，進而探討四首樂曲在中西擊樂作品中之運用，並從中論述筆者的演奏詮釋。本文共分為八個章節：第一章為緒論探討研究動機與目的、範圍與內容、方法與步驟及文獻探討；第二章為三首運用傳統素材之中國擊樂作品簡介；第三章為西洋擊樂作品之簡介，以上各章節並包含探討各樂曲作曲家背景及曲意解說；第四章至第七章分別為四首的樂曲分析與詮釋；第八章為結論。筆者透過樂曲音色、架構、音樂元素等探討後，從中了解中西方音樂之寫作手法、風格語彙，以及金屬擊樂器在四首作品中呈現的色彩，使演奏者在運用這些色彩表達樂曲的情感時有更好的掌握，繼而冀望從對樂曲的各種詮釋角度，提供對這些作品有興趣的演奏者，及有興趣為擊樂創作的作曲家參考。 Percussion instruments come in a wide variety of timbre. Combinations of Chinese and Western instruments also enrich the timbre and result in an increasing number of percussion music with contemporary concepts. Aiming to analyze how metal instruments are utilized and interpreted in Chinese and Western percussion music, this essay is concentrating on four contemporary works, including three Chinese works: Deconstruction II, arranged by Wang Hsiao-Yin and Ko Yuan-Fu, Drama (Mov. VI) and Parade, both composed by Guo Wenjing , and one West percussion work: Sketchbook III by Lin Kueiju. These works were composed between 1995 and 2013. They make use of traditional elements and break through the performance skills of traditional metal percussion instruments as well as the syntax of music. By revealing the background and analyses of these compositions, this essay further investigates their characteristics in both Chinese and Western percussion and thereby demonstrate the author’s personal interpretation in the performance. This essay is divided into eight chapters. Chapter One serves as an orientation, explaining the motivation and purpose, research boundary and contents, methodology as well as literature review of this issue. Chapters Two and Three provide a brief introduction to three Chinese percussion compositions and the Western work Sketchbook III respectively, including information about the background of their composers and exposition of the works. Chapters Four through Seven are designated to the analysis and interpretation of the four works respectively. Chapter Eight is the conclusion. By exploring the timbre, structure, and musical elements of these works, the author has gained a better understanding of various styles and techniques to express both Chinese and Western percussion music. Besides, with in-depth analyses of the relationship and differences among them, the author also learned how the characteristics of metal percussion instruments are displayed and manipulated to express the emotions of musical compositions. Interpreting percussion music from a distinct perspective, the current study is expected to serve as a practical reference for performers and composers interested in creating their own percussion music.
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