管弦樂曲《海》及創作理念之論述

Abstract

本篇論述包括兩個部份, 一部份為管絃樂曲《海》, 另一部份則為說 明此曲創作理念與設計之文字陳述。 《海》是一首為兩管編制之管弦 樂曲, 其形式為一首不間斷, 共六個段落之單一樂章形式。雖然本質上是 屬於音色作品, 但仍以四類的 "核心動機" 做為創作的出發點, 同時亦是 做為統一全曲材料來源。 所謂 "核心動機" 乃是來自作者對海的各面 向之觀察, 而在意識上轉化為抽象的 "核心動機" 模型; 而後再透過 "核 心動機" 重新的組合、變奏、拼貼....等作曲技巧, 重新建構、轉化為音 樂, 呈現作曲者內心世界的"海"。 文中並對音響學派三位重要的作曲 家: 邊德列夫斯基 (K. Penderecki ) 、路透斯拉夫斯基 (W. Lutoslawski)、李給替(Gyoergy Ligeti) 一些重要的作曲理念稍加論述 及探討, 並對於本篇論述所影響之處, 做為呼應及回響。 This thesis consists of two parts: one is of music composition itself Sea, and the other is a monographexplaining the idea behind it. Sea is scored for a symphonic orchestra. It is a continuous movement with six sections. Although it is a tone-color work, it employs four groups of "nucleus motives" as a unifying means. The "nucleus motives" originate from the composer's contemplation and observation of the sea. The different scenes of the sea are transaformed into "nucleus motives". Through rearrangement, variation, collage of these motives, the composer presents her impressionof sea. The discussion includes some important compositional concepts of Penderecki, Lutoslawski, and Ligeti as well as their influences upon this composition.