音樂模糊性的美感：管弦樂曲“框中的音畫”

Abstract

本論文包括兩個部份：“音樂模糊性的美感”的探討，以及管弦樂曲“框 中的音畫”的創作與解析。“音樂模糊性的美感”探討：涉及模糊性的基 本來源--多義性、意義的不完全性；將模糊視為一種相對的不穩定，探究 其在一些藝術形式中的運用，包含音樂（特別針對調性音樂）、詩、與畫 方面。“框中的音畫”是單一樂章的管弦樂曲。此曲的組織方式運用了上 述所討論的模糊性概念，這種形式極靠近 Stockhausen所說的“moment form”。此曲 試圖藉著建立不同的音樂事件來呈現一幅音樂的拼貼畫。 This thesis consists of two parts: the first part is the essaydiscussing "aesthetic perception of ambiguity of music" and thesecond part is orchestral composition "Tonepainting in the Frame"and its compositional ideas and analysis.The discussion of "aesthetic perception of ambiguity ofmusic" includes: (1)the fundamentals which implied ambiguity--polysemy and incompletion of meaning; (2)regarding ambiguity asrelative unsteady and studying the applications in various aspectsof arts such like music (especially tonal music), Chinese poem, andpainting.There is only one movement in "Tonepainting in the Frame"which is scored for an orchestra. The construction of this workused the concepts of ambiguity which described above, it's a formclosed to "moment form" by Stockhausen. The attempt of thiswork is trying to build up several different musical events todepict a musical collage.