标题: | 《梵天》原创管弦乐作品与注释 BRAHMA AN ORIGINAL ORCHESTRAL COMPOSITION WITH COMMENTARY |
作者: | 蔡承哲 Tsai, Cheng-Che 李子声 Lee, Tzyy-Sheng 音乐研究所 |
关键字: | 管弦乐曲;仪式性;梵天;四面佛;音乐与信仰;Orchestral work;Ritual;Brahma;Four-faced Buddha;Music and belief |
公开日期: | 2013 |
摘要: | 本论文分为两部分,分别是原创作品《梵天》管弦乐曲之乐谱与其注释。 《梵天》管弦乐曲为两管编制的单乐章作品,具有浓厚的仪式性,也是笔者为个人信仰梵天之创作。梵天乃创造之神,与湿婆、毗湿奴并列印度教三大主神。直至佛教兴起后将梵天纳为护法神,并在泰国备受供奉,又称四面佛。此作品可视为笔者在音乐与信仰间之经验与探索。 注释共三章:第一章“创作背景与理念”藉由阐明创作背景与梵天简介,并回顾旧作品经验来反映新作品之创作理念。第二章“创作手法”共五节,介绍乐曲形式与段落结构,阐述乐曲风格与特色,并从音高、节奏、织体、音色与配器等来探讨创作手法。第三章“实践与目标”说明笔者在创作中的自我实现、自我检视与再思,和对未来创作之展望与计画。 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. |
URI: | http://140.113.39.130/cdrfb3/record/nctu/#GT079946503 http://hdl.handle.net/11536/75254 |
显示于类别: | Thesis |
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