巫婉婷作品發表會含輔助文件原創作品集與註釋

Abstract

本輔助文件，將自身的創作意念、創作技法與作品實踐，透過文字具體化。輔助文件的正文部分共分五章節：第一章為緒論，敘述寫作輔助文件的動機與目的，並綜合性闡述筆者對音樂的認知。第二章為創作者本質的討論—依自身的經驗與看法，分為兩節，其一為內在精神性，作曲家必須內外兼具，才能達到作品的深刻性，分為思維孤獨與詩人心靈的觀照來討論；其二為外在的感官，作品本身為作曲家情感抒發的呈現，因物生感，有感而發。第三章為創作理念與技法的體現，以畢業作品發表會的四首作品為範例，分別是《對殘枝》(2011/04)（為女高音、長笛兼中音長笛、中提琴與擊樂）、《秋水》(2011/10)（為古箏、雙簧管）、《塵I》(2012/04)（為豎笛、巴松管、小提琴、大提琴與鋼琴）、以及《隱山趣》(2012/09)（為絲竹四重奏：簫/笛、二胡、琵琶、古箏）。第四章為音樂作品的實踐，針對作品編制中使用聲樂和傳統樂器，分析語言與音樂的關係、傳統樂器與西方樂器的差異性、傳統樂器在現代音樂語彙的展現與西方樂器的再思維。第五章為結語，是對此輔助文件的檢視及未來的期許。

This supporting paper consists of five chapters, discussing my statement of my musical ideas, compositional techniques and practice of musical compositions. Chapter One is the introduction, in which I discuss my purpose of writing this paper as well as my comprehensive exposition in music. Chapter Two discusses the nature of composers with my own experiences. This chapter consists of two sections. One discusses the inner spirit of composers, including the loneliness and poetic thoughts. The other discusses the composers’ sensibility to the external world and how they consider compositions as their personal reflection. Chapter Three demonstrates how I combine my compositional ideas with theoretical techniques in four of my original compositions: vocal chamber composition, Inspiration of Withered Plum Blossom for soprano, flute, viola and percussion, chamber composition, Chen I for clarinet, bassoon, violin, cello and piano, Autumn waters duet for zheng and oboe, and Obscurity for di, erhu, pipa, and zheng. Four of my compositional methods are discussed in Chapter Four: the relationship between vocal text and music, the differentiation between western and traditional Chinese instruments, the exploration of contemporary musical language on traditional Chinese instruments, and the reconsideration of composing for Western instruments. Chapter Five concludes this paper with a review and a perspective on the future.