二十世紀的現代鍵盤敲擊樂曲因作曲家無限的創造力，並結合日新月異的科技新思維，迅速發展與不斷創新，將電子音樂也融入了擊樂創作的一環。不僅如此更跨界融入更多戲劇、舞蹈、人聲、影像…等藝術元素，創作出不少結合劇場概念的作品，使擊樂作品已不再只侷限於聽覺，而更加強於視覺的張力，企圖開啟擊樂藝術之嶄新風貌。
現代鍵盤擊樂的發展隨著樂器性能與音域的創新與改良，使得作曲家與擊樂演奏家們有更多的自由與可能性去嘗試各種創新的手法與聲響。現代馬林巴木琴與鐵琴擁有獨特的音色與豐富音樂表現力，幫助發展出更多不同風格之創作與先進的演奏方式，進而創作出大量的鍵盤擊樂新作品，開創了現代鍵盤擊樂創作的新世代。
本論文主要討論現代鍵盤打擊樂獨奏曲的創作新思維，以作曲家Jennifer Stasack於1986年所創作的木琴獨奏作品Six Elegies Dancing和Christopher Deane的鐵琴獨奏作品The Apocryphal Still Life為例，深入分析其樂曲形式、和聲旋律、記譜法及音色美學，除此之外更深入探討其作品的創作手法及概念，並透過筆者個人的分析與觀點，期待能了解更多不同風格的現代鍵盤敲擊樂曲之新思維。
The modern keyboard percussion in twentieth century develops rapidly due to the improvement of instrument’s manufacture and the innovation of composer’s unlimited creativities. Modern marimba and vibraphone have unique tone qualities and rich musical characters, which are conducive to more creations of musical styles as well as advanced techniques, thus creating a large number of new keyboard percussion works and launching a new era for modern keyboard percussion.
The purpose of this thesis is to provide a research document detailing select aspects relevant to the study of Jennifer Stasack’s Six Elegies Dancing and Christopher Deane’s The Apocryphal Still Life, as well as to provide useful background information surrounding these two composers and their compositions. This study covers three areas: composer’s biographic information and musical training, extensive performance analysis of each piece, and artistic approach to these two excellent works.
