從Berio、Rochberg的作品探討拼貼(Collage)之手法與理念

The Study on the Technique and Idea of Collage Compositions by Berio and Rochberg

吳紋綾(Wen-Ling Wu)

指導教授 ： 顏綠芬

國立臺北藝術大學/音樂學院學術論文/音樂學研究所碩士班/碩士(2011年)

https://doi.org/10.6835/TNUA.2011.00107

摘要

1945年代以降，序列主義之發展，深深影響了二戰後的西方藝術音樂。在當時的時空背景下，幾乎所有的作曲家都投入了序列主義的創作。但是，隨著時間的推移，對於序列主義作曲技法，例如，完全控制作品中的音高、節奏、強度等要素，以及如教條式般的思考模式，漸漸的，讓一些作曲家察覺到，音樂與聽眾呈現疏離現象，以及，在表達自己的創作意念上的侷限。序列主義作曲技法之外的音樂思潮中，譬如：機遇音樂(Chance music)、電子音樂(Electronic music)、極簡主義音樂(Minimalist music)隨之興起，而拼貼(Collage)，這種藉由組合異質素材、技法而得新的藝術形態，在音樂上通過多元的引用、風格或是織體並置而成的一種作曲手法與理念，也為許多作曲家所用與盛行，並且產生了為數不少的作品，特別是在1960年代這個時期。本文以拼貼手法為中心出發點，先著手對於拼貼一詞運用之字義探討，以及對於拼貼於二十世紀之視覺藝術與音樂藝術上之歷史脈絡做瞭解，接續探討在1960年代這個時期的作曲家，為什麼會開始將以往的音樂引入作品中，究竟受到哪些因素影響，用以追溯拼貼於二十世紀音樂史上的發展。在使用拼貼之音樂作品中，本文擇取貝里歐(Luciano Berio, 1925-2003)之《交響》(Sinfonia, 1968-69)第三樂章與洛克柏格(George Rochberg, 1918-2005)之《魔幻劇場的音樂》 (Music for the Magic Theater, 1965)第一幕來作為拼貼手法於音樂實例上的探討。在1960年代的共時空下，分處不同地域的兩位作曲家，除了兩者之作品可做為拼貼手法在音樂作品上實驗的一個典型的呈現之外；在音樂載體上對於馬勒與莫札特的使用，以及在音樂文本和文學文本的聯繫上、所引發之音樂意涵上，與對於使用拼貼手法之理念，這兩位作曲家與其作品，共同顯示了具共項與異項的呈現，這箇中之微妙的相似與差異，是筆者最終選取此兩首作品做為音樂個案探討的原因。最後，本文將會對於使用拼貼手法而成的作品，提出筆者的一些反思。

關鍵字

拼貼 ； 引用 ； 貝里歐 ； 洛克柏格 ； 《交響》 ； 《魔幻劇場的音樂》

並列摘要

Since 1945, the development of serialism had influenced Western music after World War II. At that time, almost all composers devoted themselves to the creation of serialism. Serialism composition techniques gradually evolved with time, including works in complete control of pitch, rhythm, strength and other factors, as well as the way of thinking. When expressing their creative ideas, some composers became conscious of the alienation with the audiences and limitations of their music. In addition to the composition techniques in serialism, other techniques and thoughts on music included: chance music, electronic music, minimalist music emerged along with serialism; the collage, which through the combination of heterogeneous raw material and techniques spread out the new art form, furthermore via the diverse musical quotations and the juxtaposition of style or texture formed the technique and idea of composition, also used by many composers and prevalence, as well as produced a large number of compositions, especially during the 1960s.
　　This thesis discusses issues from the perspective of collage. First, the author will examine the meaning and application of collage and then explore the historical relationship between collage and visual and music art of twentieth century. Then, to trace the development of collage on the twentieth century music, an analysis on why 1960s composers began to quote past compositions and what factors affecting and causing them to do so is presented. Among collage compositions in music, this thesis uses the third movement of Luciano Berio(1925-2003)’s Sinfonia(1968-69) and the first act of George Rochberg(1918-2005)’s Music for the Magic Theater(1965) as music instances of the collage compositions in music. Not only works of those two contemporary composers who lived in 1960s but in different regions can be used as a typical presentation of collage on the experimental work in music but also their works demonstrate common and different characteristics in term of using Mahler and Mozart as carrier (support, bearer) in music and the idea for the use of collage. Those subtle similarities and differences are of the reason why author select these two music compositions as case study. Finally, this thesis will bring up some reflections on using the technique and idea of collage in music compositions.

並列關鍵字

Collage ； Quotation ； Luciano Berio ； George Rochberg ； Sinfonia ； Music for the magic theater

參考文獻

黃雲暄。「貝里歐《長笛獨奏曲模進》之研究」。碩士論文，國立臺北藝術大學管絃與擊樂研究所碩士班，民國95年。

Albright, Daniel. Modernism and Music: An Anthology of Sources. Chicago: University of Chicago Press, 2004.

Berio, Luciano. Two Interviews. (with Rosanna Dalmonte and Bálint András Varga). Translated and edited by David Osmond-Smith. London: Boyars, 1985.

__________. Techniques of the Contemporary Composer. New York: Shirmer, 1997.

Dixon, Joan DeVee. George Rochberg : A Bio-Bibliographic Guide to His Life and Works. Stuyvesant, New York : Pendragon Press, 1992.