劇場元素在擊樂作品中的運用

The Application of Theatrical Elements in Percussion Works

10.6835/TNUA.2008.00037

吳思珊

擊樂 ； 擊樂作品 ； 現代音樂 ； 劇場 ； 音樂劇場 ； 劇場元素 ； 卡格爾 ； 阿貝爾吉斯 ； 作品分析 ； 演奏分析 ； Percussion music ； Percussion works ； Contemporary music ； Theatre ； Music Theatre ； Theatrical element ； Kagel ； Aperghis ； Composition analysis ； Performance analysis

國立臺北藝術大學音樂學系博士班學位論文

2008年

博士

朱宗慶

繁體中文

二十世紀現代音樂的發展已不再拘泥於傳統的調性與固定形式範疇中，作曲家有更多的自由去實驗創作理想，藝術的疆界慢慢被打破，像音樂劇場這樣將音樂與舞蹈、劇場、多媒體等跨領域融合的創作型態於焉成形，創作者對於製作的思考更趨複雜也更需縝密。擊樂由於擁有樂器種類豐富及音色多樣化的特色，在這樣的思潮下變成了作曲家汲取創作題材的重要領域，舉凡各種音色的開發、樂器架設、演奏時必須的肢體動作…等，不僅引領了演奏上的視覺設計考量也讓創作者藉由跨領域素材的結合讓音樂意象的傳達更為具象而多元。 這樣非純粹器樂演奏的擊樂作品在七十年代後期慢慢地出現，此類創作的代表作曲家有馬里奇歐．卡格爾 ( Mauricio Kagel，1931 ~ )、喬治．阿貝爾吉斯 ( Georges Aperghis ，1945~ ) 等人，時至今日，仍有許多作曲家以及獨奏家與團體，持續相關作品的製作、發表，演奏者為了追求聽覺與視覺的整體表現，在排練的過程以及舞臺演出的呈現，所需要關注的角度亦有所不同，筆者希望藉由相關時代背景的介紹與作品分析，以各種不同的方式及角度切入，從研究、排練到實際演奏，深入探究劇場元素在擊樂作品中的運用。 整個論文的架構由第一章 擊樂的沿革與結合劇場元素的擊樂作品，將擊樂器在世界各民族當中的起源以及在西方音樂當中的演變及沿革做簡單的回顧與整理，並勾勒出其對二十世紀後擊樂發展的影響；第二章 擊樂演奏結合劇場元素的運用，將劇場的定義以及動作、走位、人聲、情緒、服裝、燈光、道具等相關劇場元素在擊樂作品當中的使用做清楚的說明與舉例；最後將八首具代表性的結合劇場元素擊樂作品做深入的應用方式探討以及演奏分析。

Twentieth century music has broken the boundary of tonality and fixed forms. Composers today have more freedom and opportunity to unleash their creativities. The artistic form such as Music Theatre which integrates the music, dance, theatre and multimedia arts thus becomes a reality. The creators would need more discretion when generating the ideas because of that. The percussion music, known for its diverse instruments and abundant sound variations, appears to be an important source of inspiration under such as current of thoughts. The sound innovation, instrumentation and necessary body impulse for the percussion music performance provoke the consideration of visual design, encouraging the creators to cross over different artistic elements and to enrich the solid image of music. Percussion works with artistic elements aside from pure instrument-playing appeared in the late 70s. Some of the representative composers are Mauricio Kagel (1931~) and Georges Aperghis (1945~). To the present, there are still numerous composers, soloists and ensembles continue to make debut on this trend. To accomplish a presentation fulfilled with audio and visual artistry, the performers usually need to think from an alternative angle for the rehearsals and performances. This dissertation studies the application of theatrical elements in percussion works in terms of literature reviews, clinical rehearsals and performances by exploring the historical background and the analysis of the percussion works. The first part of the thesis is a historical review of percussion music and the works with theatrical elements. The researcher explores several cultural roots of percussion music, the evolution of percussion music in the Western music world and their influence on the following development in the Twentieth century. The second part of the thesis focuses on the integration of percussion performance and theatrical elements. The researcher discusses the definition of theatre arts. How the theatrical elements are applied in the percussion works are clearly explained and exemplified, including body moment, position, vocal, emotion expression, costume design, lighting design, and props. In the last part, eight works with significant status in adopting theatrical elements are thoroughly discussed and analyzed.

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