後現代主義音樂現象觀察與思考：以施尼特克第二號小提琴奏鳴曲為例

Observations and Thoughts on Phenomena of Music in Postmodernism: Alfred Schnittke's Violin Sonata No. 2 as Example

胡詠軒(HU, Yung-Hsuan)

後現代主義 ； 施尼特克 ； 第二號小提琴奏鳴曲 ； 複風格 ； 引用 ； postmodernism ； Schnittke ； violin sonata no. 2 ； polystylistic ； quotation

關渡音樂學刊

36期（2022 / 08 / 01）

23 - 49

繁體中文

廿世紀後半的嚴肅音樂往往呈現與先前現代主義音樂截然不同之樣貌：它們不追求美學理念上的純粹，反而擁抱多元價值觀、展現折衷思維，並持續探索音樂藝術的各種可能性，因而被視為音樂的後現代主義。蘇聯作曲家施尼特克的早期複風格作品第二號小提琴奏鳴曲，便顯現後現代特質。本文旨在揭示作曲家如何藉本曲叩問一中心議題：奏鳴曲在當今音樂文化中的可能性何在？透過後現代主義音樂常見的作曲手法，諸如引用、暗喻、拼貼及調性技法再運用，施尼特克為奏鳴曲的當今價值提出一套解答，而其素材卻是取自過往。正因如此，本曲遂證成後現代主義音樂的重要特色：使用歷史素材並非為了重返過去，而是藉此指引出主觀價值強烈的嶄新觀點。

Serious music in the second half of the twentieth century often displayed great differences from the former in the view of modernism: Rather than pursuing the purity of aesthetic ideas, it embraced values of pluralism to manifest thoughts in eclecticism, and to explore varied possibilities of musical art. As a result, they are considered postmodernism in music. Soviet composer Alfred Schnittke's violin sonata no. 2, one of his early polystylistic compositions, revealed the properties of postmodernism. This article is aimed at revealing a central issue which Schnittke questioned through this sonata: Would there be any more possibilities of a sonata in today's musical culture? Through the common compositional techniques of postmodern music such as quotation, allusion, collage, and reusing of tonal approach, Schnittke proposed an answer to the contemporary value of sonata, and the elements of which were nevertheless acquired from the past. To justify the significance of postmodern music, it was never meant to retrospect to the past by using historical elements in Schnittke's violin sonata no. 2; rather, it demonstrated a brand new perspective of strong subjective values through these elements.

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