用對立「磨損」的樂曲：從漢娜．萊莎的弦樂四重奏《磨損》中看「二元對立」之構建

A Hannah Lash's Quartet＂Frayed＂ by Binary Oppositons

王依園(WANG, Yi-Yuan)

二元對立 ； 漢娜．萊莎（Hannah Lash） ； 二十一世紀音樂 ； 點描法 ； 極簡主義 ； binary opposition ； Hannah Lash ； contemporary music ； pointillism ； minimalism

關渡音樂學刊

29期（2019 / 02 / 01）

73 - 97

繁體中文

本文通過探討二十一世紀的美國女性作曲家漢娜．萊莎（Hannah Lash，1981）的弦樂四重奏《磨損》（Frayed，2009），看「二元對立」對題目的詮釋及其形成的聽覺效果。作曲家以力度與織體上的劇烈轉變，在音響上製造強烈的對立；其中她借鑒了巴洛克時期以及二十世紀的作曲技法，巧妙地給不同樂段引入了衝突的特徵。另外，萊莎實驗了更多花樣的二元對立方式，如用演奏法暗喻呼吸對立，在樂曲各方面的細節製造突如其來的音色變化，包括樂句的長短衝突、音色的轉換、節奏的疏密對抗、音域的高低對比。萊莎塑造大量變化的、相互對立的音響效果，活用二元對立來彰顯「磨損」一詞之涵義。她在樂譜中用豐富的細節，在聽覺上用直接明瞭的方式契合題目內涵，也展示了二元對立在音樂中的新方向。

Since the early 20th century, music has been liberated from the logic of tonality, and binary opposition has played a leading role in many composer's works. In the 21th century, a young American woman composer Hannah Lash whose music is widely performed, gains reputation worldwide. She has designed some of her compositions through the binary oppositional concept. This paper explores how this concept works in her string quartet Frayed (2009) for expressing the meaning of the title. In the composition, textures and dynamics are significantly used in emphasizing the conflict between different periods in the music structure. Lash fuses her own musical language with compositional idioms of Baroque period and 20th century, creating uniqueness stylist contrasts. Moreover, through various musical gestures, Lash successfully experiments some interesting ideas to introduce musical oppositions, such as the inhalation and exhalation binary, the long and short contrast in phrase, the arching and pizzicato in timbre and various contrasts in rhythms and pitches. In this quartet, all musical oppositions are created to refer the meaning of ＂frayed＂, so that Lash communicated her composing ideas to listeners in a direct and accessible way.

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