- 學位論文
德勒茲與瓜達里論音樂轉化：精神分裂的疊歌
A Passage to Music: The Schizophrenic Refrain in Deleuze and Guattari
摘要
在《千重台》裡，德勒茲(G. Deleuze)與瓜達里(F. Guattari)以涉及創造性與異質組成物之間非關序列演化關係的流變概念詮釋音樂。對兩人而言，音樂就是疊歌的冒險，它藉由疊歌週期性重複的運作，不斷地於聚合組成物、形成領域的同時解域音樂、並且翻轉自身的定義。這兩種對立卻並立的運作，讓音樂幾近於精神分裂般激烈的擺盪於兩種極端的動態之間：形構秩序與逃離。但隨之而來的問題是，創造於本質上是非再現的，自身即是差異，倘若音樂是一種藉由疊歌違逆既成秩序以逼近創造的運動，週期性的重複要如何將音樂轉化為差異?領域化與解域化，兩種對立的作用何以能並存於音樂?更重要的是，疊歌如何能成為音樂轉化的關鍵?它是否就是音樂的識別特徵?這些問題皆指向音樂轉化的通道-疊歌。由此，本論文將奠基於德勒茲與瓜達里的流變概念，嚐試藉由兩人所給出的條件以及變因，檢視疊歌的功能運作以及在過程中組成物之間生發的關係，探索音樂的轉化運動。
並列摘要
In A Thousand Plateaus, Deleuze and Guattari had submitted music to their exclusive concept-becoming, which involves in creativity and the non-evolutionarysequence between heterogeneities composition.In their opinion, music is precisely the adventure of refrain, in view of the fact that is constantly reassembled and redefined by the periodic repetition. Thus, territorialization and deterritorialization, these two opposite functions are effecting on music simultaneously, and making music in a contrary situation that shifting between two extreme movements：Forming orders and escaping from it. Essentially, creation is non-representative, that is to say, it embodies difference. Accordingly, the thing will be complicated when this creative movement of musicbe established on the functions of refrain. There are some problems remaining to be solved, for instance, how do the periodic repetition produce difference? How can the antagonists co-exist in music? More importantly, how does refrain become the transformer to music? Is it the linchpin characteristic of music? Eventually, the key to this issue is the trans-coding passage-refrain. Hence, for the purpose of exploring the creative movement of music based on the concept of becoming with a tendency, the functions of refrain and the interrelations between components through the factors, constraints and variations given by the discourse of Deleuze and Guattari will be further discussed in this thesis.
參考文獻
延伸閱讀
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