記憶之傷  原創管絃樂作品與註釋

《記憶之傷》為一首單樂章的三管編制管弦樂曲。創作的題材來自二十世紀最重要的猶太裔德語詩人保羅策蘭最為人所周知的作品《死亡賦格》。《記憶之傷》的結構為前奏-A段-B段-尾奏；大架構之下，尚可再細分為六個與詩文對應之樂段。創作素材大量引用象徵的概念，以影射猶太大屠殺的歷史背景。而來自於電子音樂創作經驗的「音色漸變」管弦樂配器手法為本次創作最重要的試驗之一。論文文字部份分為四個章節：「第一章：前言」為闡述本曲之創作緣起；「第二章：創作題材之解析」為介紹保羅策蘭的生平與創作風格，以及其著作《死亡賦格》之註釋；「第三章：管弦樂創作手法與題材之聯結」將依素材發展、節奏、織體與配器法等解構《記憶之傷》的創作手法；「第四章：結語」為筆者的室內樂創作經驗回顧，以及創作的省思。

關鍵字

原創管弦樂曲；猶太大屠殺；象徵性；音色漸變

並列摘要

This thesis is divided into two parts: an orchestral work titled Scars of Memory and its commentary. Scars of Memory is a single-movement orchestral work for triple winds. It was inspired by a German poem Todesfuge written by Paul Celan, one of the most significant poet in the post-World War II era. In Todesfuge, Celan revealed the many horrors that occurred during the Holocaust. In Scars of memory, many musical elements were hence designed to symbolize the Holocaust and its horrid nature. The formal structure of Scars of memory is laid out as an Introduction-A-B-Coda plan, and the whole piece can be separated into six segments, which matches the six stanzas in Todesfuge. One of the most prominent feature of this piece is morphing, a concept that originated from electronic music. The commentary is divided into four chapters. Chapter I: preface, a summary of the origins of my orchestral piece, such as where I drew inspiration from and the how I proceeded my composition. Chapter II: analysis of Todesfuge, an introduction of the well-known poem Todesfuge and its writer Paul Celan. Chapter III: a detail description of compositional techniques utilized in Scars of Memory and the connections between the orchestra and the poem. Furthermore, I deconstructed the orchestra and examined from a few different perspectives: pitch materials, rhythm, texture and orchestration. Finally, Chapter IV: the conclusion, in this chapter I reviewed my former ensemble works, and rendered an introspection that have resulted in the composing of this orchestral work.