顏婉清打擊樂演奏會 含輔助文件 尚－皮耶・杜威之擊樂作品《戶外風暴》分析與詮釋

Abstract

《戶外風暴》為法國作曲家、擊樂演奏家－尚-皮耶・杜威（Jean-Pierre Drouet 1935~ ）於1985年所創作的打擊樂獨奏曲。在他的創作歷程中，1950年起對爵士樂產生濃厚的興趣，並開始將其即興手法運用在他的作品。求學生涯結束後（1959年）與義大利作曲家貝里歐（Luciano Berio）相識，便開始投身於現代音樂的創作，嘗試各種寫作的題材，例如將東方手鼓，伊朗的Zarb鼓、印度的Tabla手鼓之演奏技巧及語法融合至西方的樂器中。杜威精通各項打擊樂技巧與音樂語彙，筆者希望透過此首作品的深入研究後，以擊樂演奏者的角度出發，理解作曲家如何整合運用擊樂的技術與創作思維，以達到演奏技術面和創作技術面兩者間的平衡。 筆者使用下列手法來研究分析杜威《戶外風暴》此擊樂作品：一、以聲響素材使用之觀點切入，詳盡的分析曲式結構與創作手法。二、杜威在當今的法國樂壇非常活躍，筆者透過此篇論文匯整出其特殊創作風格與語彙。三、經由深入的樂曲分析與演奏詮釋探討，期許能開啟對音樂更多的想法與認知，增進筆者在演奏詮釋方面的經驗。 本論文的將分為五個章節進行研究分析：第一章緒論。第二章介紹作曲家的生平及相關作品整理與比較。第三章樂曲分析，歸納寫作素材並深入探討。第四章樂曲詮釋，探討人聲的演奏方式、特殊演奏技巧、人聲與器樂間所扮演的功能與角色，及如何達到聲響間的平衡等，進而增進筆者個人詮釋觀點的多面性。第五章結論，說明筆者在進行論文寫作時得到的啟發，以及重新審視面對音樂的態度。

"Un Chien Dehors pour percussion solo" was written in 1985 by the French composer and percussionist Jean-Pierre Drouet (1935 ~ ). During the productive time in his career, he began to take a liking to jazz music in 1950 and started to employ improvisation techniques in his works. After he left school (1959) he acquainted Italian composer Luciano Berio, when he began to devote himself to the creation of modern music, experimenting with a variety of materials, such as the combination of Western musical instruments with percussion techniques and languages of Oriental tambourine, Iranian drum “Zarb”, and Indian tambourine “Tabla”. Drouet masters these percussion performance techniques and is proficient in their musical languages; therefore, by exploring "Un Chien Dehors pour percussion solo" in depth, the author, as a percussionist, aims to understand how the composer integrated percussion performance techniques and his own creative thinking process in order to achieve balance between performance and compositional techniques. The author studies and analyzes "Un Chien Dehors pour percussion solo" by Jean-Pierre Drouet in the following approaches: first, detailed analysis of formal structure and compositional techniques are examined by inspecting the use of sound materials; second, the author, through this supporting document, compiles the characteristic compositional style and vocabulary of Drouet, who is very active in modern-day French music scene; third, through in-depth exploration of musical analysis and interpretation of performance, the author hopes to achieve greater ideas and knowledge, thus enhancing her experience of performance and interpretation on this work. The document is divided into five chapters for research and analysis: the first chapter is introduction; the composer's life and the compilation and comparison of his works are described in chapter two; the formal analysis and materials used are summarized in depth in chapter three. Chapter four presents the musical interpretation and explores the use of vocals, some special performance skills, the function and role between vocal and instrumental music, and how to achieve balance between these sounds, etc., in order to enhance the perspectives of the author’s view on interpretation. Conclusion is presented in chapter five, where the author describes her own inspirations gained during the process of this research and her retrospection on which attitude one should adopt facing the music.