朱苡柔打擊樂演奏會 含輔助⽂文件 喬治·阿⾙貝爾吉斯《歪詩》之樂曲分析與演奏詮釋探討

Abstract

二十世紀中期在歐洲出現的器樂作品形式“新音樂劇場”不再只是單純的樂器演奏，音樂的結構及作品在舞台上呈現的景象都成為作曲家創作的素材和方式。顛覆了傳統音樂「聽」的形式，透過視覺與聽覺的呈現使觀眾更能了解樂曲想表達的音樂。 《歪詩》為法國作曲家－喬治．阿貝爾吉斯（Georges Aperghis, b.1945-）於1980年創作之新音樂劇場作品。整首樂曲中雖寫作了樂器配置，但作曲家在樂器解說頁特別標註演奏者可以選擇任何樂器詮釋，也因全程皆未使用鼓棒，演奏者必須找到人聲與樂器之間的平衡，並且在劇場素材方面需極度放大內心所想表達的情感才能讓台下的觀眾感受到演奏者所想傳遞的情感。筆者將深入分析了解此曲之創作手法與背景，再將個人情感與特色帶入其中探討與詮釋。 筆者將本論文分為五個章節進行研究與分析：第一章為緒論，說明研究手法與動機 ; 第二章為作曲家生平與創作手法介紹，概述作曲家之生平並瞭解其創作手法 ; 第三章為《歪詩》之樂曲分析，探討此曲樂器配置、記譜方式與樂曲結構 ; 第四章為樂曲詮釋，筆者將以樂器選擇、人聲語言、意境與劇場詮釋作探討 ; 第五章為結論，說明筆者由此研究與探討中得到的啟發與感想。

Works from the musical theater in modern times are much more than instrumental performance. The musical structure and how it is interpreted on the stage have been taken into consideration when the composers select their materials and methods to compose new works. Works from modern musical theater have transcended the only way of appreciation—listening, compared to classical music; they create a synthesis of visual and auditory senses which enables the audience to understand the implications of the piece. Graffitis is a work from the musical theatre composed by French composer Georges Aperghis (b. 1945-). Though instrumental arrangements are marked throughout the work, the composer has noted that it is acceptable to replace those instruments with others. Drumsticks are not used throughout the work; therefore, the performers have to find a balance between the volume of the vocal and the instruments. The author aims to interpret the twists and turns and the dramatic effects of this work through an analysis of the composing methods and background, along with a discussion on individual emotions and features. The thesis is divided into five chapters. In the first chapter, the author states her research methods and motivations. In the second chapter, a synopsis of the composer’s life and his composition techniques are introduced. The third chapter includes an analysis of Graffitis, which discusses the instrumental arrangement, musical notation, and overall structure of the work. The fourth chapter further interprets the work. Selection of instruments, voice language, theatric interpretation and implications are discussed in detail. The fifth chapter draws a conclusion, stating the inspirations the author has found out of the research.