王雨絜鋼琴演奏會含輔助文件《紋》：原創作品與註釋

Abstract

本論文分為文字與樂譜兩部份，第一部論述音樂概念的形成、創作手法、樂曲分析與其內涵；第二部份為鋼琴曲《紋》之樂譜。 《紋》為單樂章鋼琴獨奏曲，構想源自於筆者心中的一幅圖像—沙漠中的枯木，與周遭微小生命體的互動。筆者將由「紋」的樣式所衍生的音樂素材動機及結構上的線條織度與音域變化，說明如何將「紋路衍生紋路」的創作概念援用至實際作曲手法上，更進一步將紋路造型與音樂線條的類比，列舉譜例分析，將個人所認知「紋」之意像呈現出來。 論文文字部份分為四個章節：第一章為緒論；第二章為創作手法；第三章為《紋》的樂曲分析與意念詮釋；第四章為本論文之結語。

This thesis contains two main parts: The concept of the work and the musical score of “Grain”. The first part contains the genesis and the approaches of the piece, the structural analysis with its connotation. The second part is the music score of “Grain”. “Grain” is piece for piano solo with a single-movement. It was originated from the composer’s imagination of a picture with a dead wood which interacts with small creatures around it in a desert. All the musical elements and motives were derived from different patterns of ‘Grain’ which built several varieties in structure and sound texture. This thesis makes a comparison between patterns of ‘Grain’ and density of music which gives multiple examples of this piano piece to discuss the compositional techniques of ‘derivation’. There are four chapters for the thesis. Chapter One is an introduction. Chapter Two is a detailed description of the music, including composing motivation and techniques. Chapter Three introduces the music thought and it’s interpretation. Chapter Four is a conclusion.