音樂是時間的藝術,它既在時間中進行和開展,卻又能左右欣賞者對時間的感受與認知。但,相較於和聲、對位及節奏與節拍等方面,有關音樂時間的理論與著作非常有限。其中Jonathan Donald Kramer(1942-2004) 所著之《The Time of Music》(Schirmer Books, 1988),可說是首先試圖以聆聽角度為基準,將音樂所呈現之時間架構加以分類,並建立完整理論系統的著作。因而,本文將從對此書的認識與瞭解入手,希望能夠對音樂時間有初步的概念和想法,並以此為基礎,探究臺灣當代作曲家賴德和(1943-)與楊聰賢(1952-)作品之時間思維與運用。 在《The Time of Music》一書的探討中,本文以〈時間與音樂時間〉、〈音樂時間的感知〉和〈線性與非線性〉議題為闡述重點,並以賴德和的《眾妙》和交響曲《吾鄉印象》第四樂章,以及楊聰賢的《三更擊鼓》與管弦樂曲《傷逝》為分析對象。
Music is an art of time. It goes through and unfolds in time, but it could also distort a listener's feeling and cognition about time. However, compares to aspects such as harmony, counterpoint, rhythm and meter, theories and publications about musical time is not as many. Among these works, Jonathan Donald Kramer(1942-2004)'s 《The Time of Music》(Schirmer Books, 1988) can be considered as the first published book which is trying to categorize temporal structure of music based on listener's viewpoint, and constructed a complete theory. Therefore, this research begins with an introduction of Kramer's book, followed by the author's preliminary concepts and thoughts about musical time. Furthermore, this theory is used as an analytical foundation for researching the time thinking and structure of the works by contemporary Taiwanese composers Lai Deh-ho and Yang Tsung-hsien. This research for the book 《The Time of Music》 focuses mainly on the topics 〈Time and Musical Time〉, 〈The Perception of Musical Time〉and〈Linearity and Nonlinearity〉. The analytical objects are Lai Deh-ho’s 《Chungmiao》 and the 4th movement of the symphony 《Four Impressions of My Motherland》; Yang Tsung- hsien’s 《Drumming the Antiquity in the Dark》 and 《Grieving the Evanescing》(for orchestra).