《梵天》原創管絃樂作品與註釋

Abstract

本論文分為兩部分，分別是原創作品《梵天》管絃樂曲之樂譜與其註釋。 《梵天》管絃樂曲為兩管編制的單樂章作品，具有濃厚的儀式性，也是筆者為個人信仰梵天之創作。梵天乃創造之神，與濕婆、毗濕奴並列印度教三大主神。直至佛教興起後將梵天納為護法神，並在泰國備受供奉，又稱四面佛。此作品可視為筆者在音樂與信仰間之經驗與探索。 註釋共三章：第一章「創作背景與理念」藉由闡明創作背景與梵天簡介，並回顧舊作品經驗來反映新作品之創作理念。第二章「創作手法」共五節，介紹樂曲形式與段落結構，闡述樂曲風格與特色，並從音高、節奏、織體、音色與配器等來探討創作手法。第三章「實踐與目標」說明筆者在創作中的自我實現、自我檢視與再思，和對未來創作之展望與計畫。

There are two parts in this thesis: an original orchestral composition “Brahma” and its commentary. “Brahma” is a double-wind orchestral composition. The music is in ritual style. The composition is written after my belief, Brahma, the god of creation and one of three dominant gods of Hinduism along with Shiva and Vishnu. Brahma was subsumed as a Guardian until after the rise of Buddhism, and worshiped readily also called four-faced Buddha later in Thailand. Therefore the composition reflects by my personal experience and exploration between music and belief. The commentary is divided into three chapters. Chapter I “Compositional Background and Ideas”, illustrating the compositional background, briefly introducing Brahma, and stating the musical ideas through reviewing my former compositions. There are five sections in Chapter II “Compositional Technique”, which is to analyze the form and the structure of composition, elaborating the style and the characteristic of composition, discussing its compositional techniques in pitch, rhythm, texture, timbre and orchestration. Chapter III “Practice and Goal” discusses the self-actualization, self-examination and rethinking of composing “Brahma”, as well as the future plans for new works.