《夜闌之聲》的作品分析與其音樂素材的建立

「真、善、美」為筆者在創作學習之路上，一直努力追尋的目標。然而，前兩者牽涉的範圍過廣，已經超出自己能理解的範疇，因此，「美」成為現階段能實際追求的方向。若要討論音樂的美，則必須從其自身的素材與組織方式談起。過多音樂之外的事物干涉，會使現階段的討論失焦。所以本論文以素材的建立為經，實例創作的應證為緯，讓讀者清楚了解作品與其形塑歷程間的關係。本文共分為三章。第一章「音高材料的選擇」將探討筆者透由對傳統調性和聲的反思後，如何建構屬於自己的音高語彙。第二章「聲響」則借用音絡的分析來找尋聲音的同質與異質性，並運用它們之間不同遠近親疏的關係做各式的組合與發展。第三章「作品實析」裡會以五重奏《夜闌之聲》為例，深入分析其音高、節奏、聲響與其他音樂參數組織的方式。

關鍵字

夜闌之聲；音高材料；聲響

並列摘要

Truth, goodness and beauty are the goals on the way to my compositional learning. However, the first two cover a very wide sphere which goes beyond the scope I can understand. As a result, beauty became the actual target at the present stage. To discuss the aesthetics of music, one should start from the materials and its structure. Too much interference from outside of music itself would make the discussion out of focus at this stage. Therefore, this thesis would take the construction of materials as the cornerstone, and use the practical works as the extension to help readers understand the relations between the works and its shaping process. This thesis consists of three chapters. In the first,“The selection of pitch materials”, I discussed how I construct my own pitch language through the reflections of traditional tonal harmony. In the second chapter,“ Sonority”, I analyzed it with ADSR envelope in order to categorize their homogeneity and heterogeneity and, furthermore, to utilize the difference between them for making possible combinations and developments. In the third chapter,“ The analysis of the work”, I took “The Sounds from Late Night ”as an example to expound how pitch, rhythm, sonority and other musical parameters have been organized together.