阿弗列德‧施尼特克音樂中的「多風格性」（Polystilistik）－以《弦樂四重奏》為例

本文以俄國作曲家阿弗列德．施尼特克（Alfred Schnittke, 1934-1998）的四首《弦樂四重奏》為例，探討作曲家如何透過「引用」（quotation）、「拼貼」（collage）、「隱喻」（metaphor）與「微分多音」（Mikropolyphonie）等「多風格性」（Polystilistik）的創作手法實踐音樂思維。「多風格性」就是運用不同時代、不同風格、不同體裁、不同文化與不同作曲家的音樂素材做為創作內容，並將這些手法並置於同一部作品之中。以「多風格性」手法作為音樂創作的基本技法的阿弗列德．施尼特克在各個時期的作品中有著不同的「多風格性」創作思維。這種思維幾乎貫穿了他一生的創作生涯。在「多風格性」的實踐上，他不固守僵化的手法，也不追求新古典主義的復古風格，將這種風格演變出多種發展的可能性，並為這種風格與手法賦予了真正的價值與意義。本文針對施尼特克的思想觀，以及四首《弦樂四重奏》作品風格表現，透過語義結構之分析，探討其在於蘊涵的一種強烈的感情表現因素與悲劇性的特質，以及崇高的精神內涵。

關鍵字

阿弗列德．施尼特克；弦樂四重奏；多風格性；引用；拼貼；隱喻

並列摘要

This article has taken four string quartets of Alfred Schnittke (1934-1998) for example and In probed how the composer spread dialogue between new and old music by ＂Polystylistik＂ technique. The term ＂Polystylistik＂ can be defined as the application of different periods, different styles, different genres, different cultures and different materials of a composer as the content of creation, and using the techniques as ＂quotation＂, ＂collage＂, ＂metaphor＂ and ＂Mikropolyphonie＂ in the same work. Russian composer, Alfred Schnittke, used the ＂Polystylistik＂ approach as the basic skill of creation and major musical styles; he had different creative thought of ＂Polystylistik＂ in each period and this is almost throughout his whole career of creation. Schnittke used ＂Polystylistik＂ approach to not stick to rigid approaches, nor pursue retro-style of Neo-Classicism. Schnittke evolved this style into a variety of possibilities and endowed this style and approach with real value and meaning. This article focuses on the ideological concept of Schnittke and styles of his four string quartets through the analysis of semantic structure to explore the factors of strong emotional manifestation, tragic speciality and loftily spiritual cultivation.