武滿徹的自然觀與其無常的音樂形式--以《ARC》第一部為例

Abstract

現代音樂最大的問題之一，在於音樂始終和聽者存在聯繫上的困難。比起調性音樂，新音樂的語法常以理性的數理式計算，取代引人感性的旋律與和聲進行。二十世紀亞洲最著名作曲家武滿徹就認為，西方十二音列這類「精算式」的音樂語彙，與「人的感受」之間，存在極大的隔閡，並批評這樣的作法會導致音樂離「自然」越來越遠。 追求自然的音樂形式，正是武滿徹創作的焦點。然而，這樣的「音樂自然觀」並不只是對自然物的模擬，或對宗教精神觀的追求。武滿徹的「音樂自然觀」由「無常」出發，試圖將「人的感性」帶回音樂中。人不是「組織」音樂的角色，在「無常」的不斷變化裡，人的感性隨時間空間而轉變，新的觸發也孕蘊而生。藉由與外在的交流，如詩意般的抽象意像油然而生，音樂在此流變中成形。其種種音樂觀包括「音河」、「間」、「寂靜」等，皆始自於人在時間空間中的遭遇。與西方音樂直線性的時間和固定的空間不同，音樂不由度量而來，也不從既定形式出發，武滿徹追求「音色」的細緻度，強調人與音樂不為主屬關係。 武滿徹於1966年創作的管弦樂曲「ARC」，將「人」漫步於庭園的概念導入音樂的形式結構當中。本論文將以這首樂曲為例，論述武滿徹如何以他特殊的音樂感，創作出具有時空感的音樂。

The most essential problem in modern music is that there exists a gap between listener and music. Modern musicians tend to compose by rational method instead of sensory approach. Takemitsu Toru, who is the world-famous Japanese composer in 20th century, also concerned about the gap between listener and music. He thought that rational method adopted in musical composition would take music away from Nature. Nature in music doesn’t mean to imitate or to find any metaphysical meaning in religion. Nature in Takemitsu’s approach is based on Transience and then bringing the sensory back to music. Music is not the man-made product. Because of Transience, not only the sensory changes constantly with time and space, but also the poetic images could be touched off. By way of sensing the emergence of language and music, the subject would never be opposite to the object—this is the process of composition in Takemitsu’s thinking. Concepts in Takemitsu’s musical philosophy, such as “single sound”, “ma” and “sawari”, are different from the concepts of linear time and fixed space in traditional western philosopy. Takemitsu argues that time and space in music can’t be measured. This kind of approach leads his music focusing on timber. ARC is the piece of Takemitsu’s work in 1966. The nucleus of this music is to imagine people strolling in the garden. My paper would explore the meaning of musical nature in Tkemitsu’s philosophy and show how his music is related to his philosophical thinking.