標題: | 郭子瑛擊樂演奏會 含輔助文件 尼伯夏‧吉柯維克《輓歌與野蠻之舞》之樂曲分析及演奏詮釋探討 TZU-YING KUO PERCUSSION RECITAL WITH A SUPPORTING PAPER AN ANALYSIS AND INTERPRETATION ON NEBOJŠA JOVAN ŽIVKOVIĆ’S WORK “LAMENTO E DANZA BARBARA” FOR MARIMBA AND THREE PERSSIONISTS |
作者: | 郭子瑛 徐伯年 董昭民 Kuo, Tzu-Ying Hsu, Bor-Nien Tung, Chao-Ming 音樂研究所 |
關鍵字: | 尼伯夏‧吉柯維克;擊樂協奏曲;輓歌與野蠻之舞;樂器擺設;Nebojsa Jovan Zivkovic;Percussion concerto;Lamento e danza barbara;Percussion instrument setting |
公開日期: | 2016 |
摘要: | 在二十世紀中期之後,擊樂協奏曲的協奏者不再只是管弦樂團或管樂團,而是開始使用許多不同類型的打擊樂器,獨奏者除了詮釋技巧華麗的獨奏樂段之外,還時常必須身兼指揮一職,與協奏者培養良好的默契。在尼伯夏‧吉柯維克《輓歌與野蠻之舞》(Lamento e Danza Barbara)這首曲子中,是由木琴獨奏者與三位擊樂家共同協奏的樂曲,整首曲子充滿著不斷變化的拍號並使用多樣化的樂器。本文將討論如何在拍子不規則的變化中找到節奏律動的邏輯、獨奏者與三位協奏者之間的關係與改變,以及如何處理打擊樂器的擺置和演奏技術之問題。
本論文將分為五個章節來進行研究分析。第一章為緒論,說明筆者的研究動機與研究方法;第二章,介紹吉柯維克生平、創作作品及風格;第三章概述《輓歌與野蠻之舞》的創作背景以及分析曲子的素材、動機和曲式架構;第四章為樂曲詮釋,並分為兩大部分,第一部分從吉柯維克的創作手法和譜上術語,來探討樂曲動機和聲部之間的關係這兩面向之詮釋,第二部分則是探討各聲部的樂器擺設,使得演奏者能依最順手的演奏方式來演奏;最後一章為總結,是筆者在此論文探討後的心得及結果。 After the 20th century, the accompaniment of a percussion concerto is no longer an orchestra or wind ensemble. Instead, composers started to utilize varied types of percussions as accompaniment, which means a soloist should not only interpret flamboyant solos but also nicely lead the rest of the group. The “Lamento e Danza Barbara” by Nebojsa Jovan Zivkovic was written for a soloist and three percussionists, and it features continuously changing meters and diverse instruments. In this thesis, the rhythmic groove and melodic flow during inconsistent meters, the connection and interaction between the soloist and accompaniment, and discussion on the efficiency of different instrument placements and technical issues in performance are deeply researched and clearly analyzed. This thesis consists of five chapters. Chapter one is an introduction of the methodology, purpose and objectives of the research. Chapter two describes the compositional style, biography, and major works of Nebojsa Jovan Zivkovic. Chapter three explores the background, structure, and motives of “Lamento e Danza Barbara.” Chapter four researches into the interpretation of “Lamento e Danza Barbara”, which includes two major sections: one is to discover the development of motives and the relationship between different parts through analysis of Nebojsa’s compositional technique and written information on score; the other is to seek the most reasonable and appropriate setting of each part for a comfortable and effortless performance. The final chapter is the conclusion and review of this thesis. |
URI: | http://etd.lib.nctu.edu.tw/cdrfb3/record/nctu/#GT070159322 http://hdl.handle.net/11536/142295 |
顯示於類別: | 畢業論文 |