「點描音樂」理念及其在自我創作之運用

在二十世紀以降，由於民主自由思潮高漲，出現許多新的思想與結合當代科技的產物。在音樂方面，點描音樂正是這一新時代的產物之一。而點描音樂的手法主要由魏本的作品中發展而來，因此又可以說魏本之作品為點描音樂之濫觴。繼魏本之後，許多音樂風格與作曲家紛紛受到點描音樂影響，而發展出新的音樂理念與獨樹一格之創作。本研究旨在探討點描音樂之緣起與發展，與其在音樂史上之重要角色。並且提出魏本、布雷茲與拉亨曼，與其點描音樂之作品做更深一步的探究。此外，也透由對上述三位作曲家之作品分析，將此內化並與自我思想彙整，運用至三首自我創作中。除了藉此了解三位作曲家如何將其自我理念與點描手法融合自其創作中，也透過此研究試圖拓展出自我創作風格，並不斷自我突破與時俱進。

關鍵字

點描音樂；魏本；布雷茲；拉亨曼

並列摘要

Since 20th century, the new thoughts and the products combining with the contemporary technology spring up due to the rising of democratic freedom of thinking. In the aspect of music, Pointillistic Music is right one of the creatures of the new era. The technique of Pointillistic Music primarily developed from the compositions of Anton Webern, hence we can also say the works of Webern are the original of Pointillistic Music. Many music styles and composers are influenced by Pointillistic Music after Webern, and that brings new thoughts of music along with composers’ unique works coming forth. This thesis mainly discusses the original, development of Pointillistic Music and its’ important role in the music history, then exploring deeply on the Pointillistic Music compositions of Webern, Boulez and Lachenmann. In addition, internalizing the analysis of above mentioned three composers’ works, and then summarizing it with my idea. Applying all of them to my three personal works at last. Through this chance, I can realize how those three composers combined self-thoughts and the technique of Pointillistic Music in their compositions, then expand my own style of composition, and keep to breakthrough myself and advance with times.