周欣諭作品發表會含輔助文件：原創作品集與註釋

Abstract

《周欣諭作品發表會》共包含五首曲目，其中兩首為電腦音樂(Electro-acoustic music)，另外三首為結合器樂與電腦音樂之作品。在本作品集中作者致力於結合音樂與科技兩種不同的媒介，利用兩者之間的的關聯性，賦予音樂與科技和諧的對話關係。另一方面，在人文思想與音樂技法中，也融合了東方詩詞、音樂元素，透過西方的器樂創作技法以及音訊處理技術，呈現出具東方韻味之音樂色彩。 本論文就《周欣諭作品發表會》各首曲子做創作理念與作品分析之闡述，總共可分五個章節：第一章為緒論，以東西方的音樂起源直至今日電腦音樂發展的背景做綜合性之闡述。第二章為創作理念，其中包含創作背景、東西方音樂元素的融合以及電腦音樂技術為音樂帶來的刺激與新的面相：如新音色之探索、聲音姿態之設計、音響織度之構築等，並舉例說明這些創作理念在作品中之體現。第三章為創作手法，論述五首作品中包含曲式的建構，器樂創作技法以及電子音樂技術，如音色變化之濾波技術(Filtering)、姿態設計之反轉技術(Reverse)與延伸技術(Stretch)、織體構築之粒狀合成技術(Granular Synthesis)與延遲技術(Delay)等。第四章為個別探討五首作品之分析，其中包含結構與形式、配器與聲響組織及音高材料等創作技法。第五章為筆者對本論文之省思與結語。

The repertoire of the presentation by Hsin-Yu Chou consists of two compositions for electro-acoustic music and three compositions for the combination of instrumental music and electro-acoustic music. The author seeks to blend music with technology in this portfolio and establish a close dialogue between the two kinds of media by utilizing their connections. In addition to humanistic spirit and musical techniques, the author incorporates elements of oriental literature and music into this portfolio, aiming to compose pieces that take on the aura of oriental music with Western instrumental music techniques and audio processing technology. This thesis expounds the author’s idea of creation and analyzes each composition in the repertoire of the presentation. The thesis comprises five chapters. The introduction chapter offers an overview on the development from the origins of oriental and Western music to the emergence of contemporary electro-acoustic music. Chapter two explains the author’s idea of creation, including the motivation for creation, the blend of oriental and Western musical elements, and the stimulation and new dimensions that electro-acoustic musical techniques provide to the field of music, which includes the exploration of new timbre, the design of acoustic gesture, the construction of musical texture, and so forth. This chapter also illustrates how the compositions embody the foregoing ideas. Chapter three describes the methods employed for writing the five compositions, including the creation of forms, instrumental musical techniques, and electronic musical techniques such as filtering, reverse, stretch, granular synthesis, and delay. Chapter four elaborates on the content of the five compositions, including their structures, forms, instrumentations, acoustic textures, and pitch materials. The concluding chapter offers general remarks on the contributions and limitations of this thesis.