記譜法在擊樂作品中的應用與探討

The Application and Discussion of Music Notation in Percussion Works

盧煥韋(Huan-Wei Lu)

指導教授 ： 朱宗慶

國立臺北藝術大學/音樂學院學術論文/音樂學系博士班/博士(2013年)

摘要

西洋音樂（Western music）的記譜法發展，從三千多年前，古希臘的「文字記譜（Letter notation）」，發展至中世紀的「紐碼譜（Neumes）」，再發展成為現在的記譜法；其樂譜的功能，從早期「記錄」教會的音樂為主，轉變為提供演奏上「閱讀」為主；而使用的記譜符號，從複雜的文字，逐漸被簡化為統一的符號。
音樂發展到了二十世紀，作曲家們想打破傳統的音樂理論，在「演奏音色」、「演奏形式」、「演奏技巧」上都有非常大的突破；記譜法也因不同的元素加入音樂創作後，開始有了不同的嘗試和創新。在這同時，擊樂因為樂器種類繁多、音色豐富、演奏型態的可塑性強，因此受到作曲家的青睞，逐漸從管絃樂團中跳脫出來，開始有專為擊樂創作的合奏和獨奏曲出現。此時擊樂的記譜法，也從管弦樂團的記譜法逐漸發展出「符號記譜法」及「五線譜記譜法」。
1950年電子音樂興起，作曲家為了要記錄非樂器的演奏聲響，開始將樂譜「數據化」，運用時間記譜記錄聲音的長短，運用圖形表示音高的起伏；「時間記譜」、「空間記譜」和「圖像記譜」隨之而發展，並在擊樂的作品中被大量使用。隨著時代的轉變，擊樂的表演形式，開始融合不同的表演元素，從純演奏的表演，轉變為結合戲劇、燈光、走位等不同劇場元素的演出形式。此時作曲家開始融合不同記譜法的特點，再加入不同演出形式而發展出的新記譜法，逐漸變成現在的擊樂記譜法。
不同的記譜法，如同文學上的「詩、詞、散文」，是不同的表達方式；作曲家藉由不同的記譜法，除了傳遞「音樂」的訊息給演奏者外，也傳遞了不同的「創作理念」，演奏者除了演奏譜面上的音符外，更應該了解作曲家選擇不同記譜法的涵義。藉由記譜法在擊樂作品中的發展和探討，了解不同記譜法的特點，以及擊樂作品中的發展與應用，讓作曲家和演奏者，能藉不同的記譜法，將擊樂的音樂完整的傳達和呈現。

關鍵字

擊樂音色 ； 擊樂作品 ； 記譜法 ； 符號

並列摘要

The notation development of Western music develops from letter notation of ancient Greek over three thousand years ago, to the Neumes in the medieval and to the present notation; the function of musical notation transforms from the early church music “recording” to the “reading” in the concert; and the notation symbols have gradually simplified from complex characters into uniform symbols.
In the twentieth century, composers made major breakthroughs in “playing timbres”, “playing form” and “playing skills” to break the traditional music theory; after the adding of different elements in music creation, notation began to have different attempts and innovation. At the same time, because of a wide variety of instruments, rich timbres and strong moldability of playing forms, percussion instruments were highly favored by composers and gradually escaped from the orchestra. The coro and solo specially created for percussion came into being. At this point, the percussion notation also gradually developed the “symbolic notation” and “staff notation” from orchestra notation
In 1950, the electronic music rose, to record the non-instrumentalist sound, composers started to “digitize” the music score, record the length of sound by time notation and represent the pitch of ups and downs by graphics; “time notation”, “space notation” and “graphic notation” also started to develop and were widely used in percussion works. With the changing times, the percussion performances started to integrate different elements and transformed into the performance forms with different theater elements including drama, lighting and blocking. At this time, composers started to combine the characteristics of different notations, and add different forms of performance, thus developing the new notation and gradually transforming into the present percussion notation.
Like “poetry and prose” in literature, different notations are different ways of expression; relying on different notations, besides passing the message of “music” composers also pass different “creation ideas” to the players. In addition to play the notes on the score, players should understand the connotation of the composer’s selection of different notations. By the development and exploration of notation in percussion works, the paper aims to understand the characteristics of different notations, the development and application of percussion works, thereby allowing composers and players to fully convey and present the percussion music by relying on different notations.

並列關鍵字

percussion timbre ； percussion work ； music notation ； symbols

參考文獻

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