陳怡慧鋼琴演奏會 含輔助文件：陳怡慧鋼琴曲《存在的理由》及其創作理念簡述

Abstract

本輔助文件由兩個部分構成；包括了鋼琴曲《存在的理由》，以及關於這首作品的創作理念、創作素材與演奏法風格詮釋等文字探討。

《存在的理由》為筆者於2005年間所創作之三樂章鋼琴曲。主要是以德國哲學家海德格之「存在主義」為理念出發，結合十九世紀末二十世紀初，西方音樂中調性與非調性之間，新舊交迭所產生的和聲語法為題材創作。本文將對音樂史上的後調性(post-tonality)時期及相關作曲家做簡要概述，並進一步說明哲學上存在主義之概念。最後，針對三首不同風格之樂曲創作素材與創作理念之體現，和演奏法上的風格詮釋與探討，在主觀的情感表達以及客觀的音樂結構中，闡述創作者對於樂曲所賦予的情感及創作之理念。

個人創作作品—鋼琴曲《存在的理由》之創作發表暨演奏詮釋講座，於民國九十四年六月十五日下午四點三十分，於國立交通大學人社一館318教室舉行，此場講座實況錄音之雷射唱片，亦附錄於本文封底。

The supporting paper consists of two parts : the musical composition The Reason of Existence and the essay expounding compositional ideas, materials and the interpretation of this work.

The Reason of Existence is scored for piano solo and divided to three sections. It is based on an ideal, existentialism, from German philosopher, Martin Heidegger. The musical materials of the composition are inspired by the musical languages between the western tonality and atonality at the end of 19th and begin of 20th century. I will briefly discuss about the post-tonality period in the music history and the selected composers and their unique styles. I will also explain the conception of the existentialism which may influence my composing. Furthermore, I will discuss the musical materials which are employed in this composition, and the relationship of the performance practice and its interpretation.

The performing and the lecture recital of the composition ─ The Reason of Existence ─ was held in the Classroom 318 of the 1st social Sciences Building of National Chiao Tung University at 4:30 pm, on June 15, 2005. A recording of this performance can be found on the attached CDs.