連篇電子原音作品《對話》(Dialogue)之創作理念與科技應用

Abstract

本論文包含兩個部分：一為連篇電子原音音樂作品《對話》，二為電子原音音樂創作技法之探討，以及作品《對話》創作理念之美學與實踐。 連篇電子原音音樂作品《對話》分為三個樂章，第一樂章「門」（The Door）為電子音樂作品，第二樂章「迷」（Sojour）為現場揚琴與預置電子音樂作品，第三樂章「對話」（Dialogue）為現場鋼琴與預置電子音樂作品。 "對話"（Dialogue） ──conversation or communication? 終其一生我們不斷在與他人對話，與宇宙對話，與自己對話，與天父對話... 對話中可能是溝通、附和、爭吵、沉思、呼喊、懇求.... 對話是為了找出生命的答案，抑或為了應証自我的存在? 筆者試以重新建構的異響世界，東西方音樂元素之融合，人機之間的對話等省思角度切入，探討電子原音音樂互動作品創作之理念與實踐。

The thesis consists of two parts: the electroacoustic composition ”Dialogue” and the essay expounding the ideas and methods of this work. There are three movements in ”Dialogue”, which are “Door”, written for electroacoustic music, “Sojour”, written for YangChin and electroacoustic music, and “Dialogue”, written for Piano and electroacoustic. It is inspired by the following prose: “Dialogue”- for conversation or communication? We dialogue with others, with space, with ourselves, and with Father day by day. We try to communicate,try to agree, try to fight , try to think, try to shout, try to beg…in dialogue with others. Because we want to know the answer of life, or want to demonstrate that we are alive? Furthermore, the musical method will be discussed in three different stages and their effects on the formulation of the composition will be examined. The three stages are: (1) the exploration of “New Sound”; (2) the integration of the electronic music with acoustic instrument; (3) the dialogue between human being and machine.