潘德瑞茨基《廣島殉難者的輓歌》中音響技法的探尋

An Exploration into Sonoristic Techniques of Penderecki's "Threnody to the victims of Hiroshima"

10.29873/GMJ.200512.0007

嚴福榮(Fuk-Wing Yim)

音響技法 ； 音色 ； 織體 ； 結構 ； Sonoristic Techniques ； Timbre ； Texture ； Structure

關渡音樂學刊

3期（2005 / 12 / 01）

149 - 184

繁體中文

柯里斯多夫•潘德瑞茨基(Krzystof Penderecki)於1960年完成一首寫給五十二把提琴的弦樂作品《廣島殉難者的輓歌》(Threnody to the victims of the Hiroshima)。這首作品不僅代表著他早期音樂風格的縮影，更常被視爲研究二十世紀五十年代、六十年代東歐「音響風格」(sonoristic style)特色的重要音樂文獻之一。從這首作品裡可充分地體現出作曲家其個人獨特的創作思維，更反映出他在早期創作中，對於音響探索方面所呈現出極具有高度冒險精神與實驗性質的音樂；同時，他將所謂「噪音」(noise)特殊聲響來作爲「音樂」表現的一種嶄新手段，並融入此作品裡。本論文將試圖通過對於潘德瑞茨基在作品中運用各種聲響組織特徵上進行分析，在理論上進行梳理，並進一步對於整首作品各段落的聲響結構作統整性的探討。

Krzystof Penderecki in 1960 completed a musical work titled ”Threnody to the victims of Hiroshima” for fifty-two stringed instruments. This work is not only an epitome of Penderecki's early musical style, it is also being seen as one of the important musical literatures in the research of the 1950's and 60's Eastern European ”sonoristic style”. From this work, the composer's uniqueness of creative thinking is fully manifested. Moreover, it also reflects his early creation of sound exploration in a highly adventurous and experimental music. At the same time, his so-called special sound-noise in the ”music” as a brand new medium is fused into this work. This thesis will attempt through Penderecki's composition of the characteristic of the various sound organizations to analyze, theoretically exhibit, and further explore the integration of the sounds and structures in all the sections of the entire work.

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