影響作曲歷程創造力之因素探討

Abstract

本研究目的在探討作曲者在樂曲創作時創新的想法如何產生，以及樂曲創新的方式有那些。我們假設作曲的創新歷程和Wallas的問題解決歷程相似，可以區分出四個不同階段，且在每個階段中，概念結合是作曲創意產生的一個認知機制。本研究訪問15位經驗較豐富的作曲者；以及11位經驗較少的作曲者，請他們以自己創作的曲子為例，說明作曲的過程以及影響作曲創意的因素。根據訪談內容，我們將作曲創意出現的歷程區分為「作曲意念的促發條件」、「作曲創意的尋找」、「作曲動機的發想」，和「作曲創新的手法」四個階段。我們進一步歸納出作曲者在各階段尋找創意時常使用的方法，發現作曲者在每個階段中都使用了概念結合，其中包含了不同種類的詮釋方式，而「隨機組合」是音樂創作領域特有的概念結合詮釋。我們也發現隨著作曲經驗的累積，作曲者會將音樂的定義拓廣，讓創作的限制條件放寬以尋找創意。

The purpose of this study was to investigate the cognitive processes involved in musical composition. Specifically, we examined how composers generate new ideas to make music and how composers did to bring originality to their works. We proposed that composition process can be decomposed into several stages and conceptual combination is the underlying mechanism for musical creativity in every stage. Fifteen professional composers and eleven college students who have composed at least 3 pieces of music were interviewed. They were asked to describe the process of how a piece of music came to live. From their responses, we identified 4 stages in composition process: (1) motivation (theme) priming, (2) ideas finding, (3) motif (musical) generation, (4) methods and tactics finding. We also identified methods composers used to spur their creativity and types of conceptual combination that produced new ideas in musical composition. Incidents of conceptual combination were found in every stage of music composition, and it was most prevalent in the stage 4. A new type of conceptual combination: “random combination” was employed quite extensively by student composers. Compared to student composers, we found that experienced composers have a broader and looser conceptualization of music which enables them to try bold experiments with the music.