嚴子晴小提琴演奏會含輔助文件武滿徹《妖精之距離》之創作特徵與演奏詮釋——從梅湘的《主題與變奏》比較其音樂語言之異同

Abstract

本輔助文件以當前研究文獻為基礎，分析武滿徹為小提琴與鋼琴寫作的《妖精之距離》之創作技法與特徵，並與梅湘的《主題與變奏》比較，觀其創作手法之異同與繼承，並探討適切的詮釋方法以及演奏建議。筆者分別簡述梅湘與武滿徹之生平簡介、創作分期以及音樂風格，並從「時間」和「色彩」兩方面進行分析。時間的分析（節奏）特別著重於兩人音樂中的節奏性與時間觀念，以及複合節奏的使用。兩人皆將多調式與複合節奏結合於作品中。色彩的分析（和聲）則著眼梅湘的色彩「聯覺」(Synästhesie)在創作上的應用，以及武滿徹的繼承。梅湘應用「有限移位調式」(les modes à transpositions limitées)的手法與武滿徹運用音列技巧（例如：動機式音列，全音音階）的手法多有雷同，而梅湘「持續音群」(Groupe-pédale)的作曲手法，可對應到武滿徹作品中常見的同音列多重複合小節。在和聲結構上，兩人皆大量使用分解和弦的三度疊置，以及四度疊置和弦；而和聲與和聲之間的聲部導進，則常見平行和弦推移，或以半音模進方式進行。藉由探討兩人個性化的節奏以及和聲語言，筆者追溯日本作曲家武滿徹對於梅湘的音樂和聲技法之吸收，繼承與再創造。

This supporting paper presents an analysis on the compositional technique and characteristics of Toru Takemitsu's "Distance de Fée" in comparison with Messiaen's "Theme and Variations" in order to observe the inherited similarities and differences between the two composers, and suggestions for interpretation and performance are given whenever the author thinks appropriate. The author briefly introduces the life, the compositional periods, and the musical styles of Messiaen and Takemitsu respectively, and conducts analysis based on "temporal" and "color" concepts. Analysis based on temporal (rhythmic) concept particularly emphasizes on both the rhythmic structure and the sense of ‘time’, as well as the use of polyrhythms. Both incorporate multi-modes and polyrhythms into their work. Analysis on color (harmony) is focused on how Messiaen's "synaesthesia" (Synästhesie) renders his composition a rich spectrum of colors, and how Takemitsu inherited this sense of coloration. Messiaen's use of "les modes à transpositions limitées" is reminiscent of Takemitsu's techniques in the use of tone-row (e.g. motivic tone-row and diatonic scales); Messiaen's "groupe-pédale" may correspond to Takemitsu's common use of homophonic tone-row across multiple sections. In terms of the harmonic structure, both of them made extensive use of broken chords of triads and tetrad chords, while the voice leading between harmonies exhibits parallel chord movements or chromatic progressions. By addressing both the characteristic rhythmic and harmonic structure, the author manages to trace the influence, inheritance and re-creation of Japanese composer Toru Takemitsu for whom Messiaen's music is count as one of the most influential.