陳光展作品發表會 含輔助文件 絃樂四重奏作品《墨暈》之創作理念與分析

《墨暈》為多樂章絃樂四重奏作品，由四個樂章所組成。曲名《墨暈》是意指水墨畫的寫意之風，依照四種水墨畫技法分別為「工筆」、「寫意」、「白描」與「潑墨」成為樂曲的四個樂章各自之副題《花鳥》、《墨荷》、《駿馬》、《飛瀑》。利用四種畫法不同的特性，使用各種不同的寫作技巧來勾勒出作品樣態。本輔助文件分為五個章節：第一章緒論，第二章《墨暈》創作概念，第三章音樂創作中的「現代」與否，第四章《墨暈》內容與分析，第五章結論。在緒論的章節介紹了樂曲創作的背景以及討論水墨畫的技法。第二章討論以水墨畫的技法來適切的連結樂曲的動機與風格；第三章說明《墨暈》以現代作品角度，展現的風格卻和一般所認知的現代作品相異，對此現象筆者引用了社會科學的角度、觀眾的角度以及歷史上成功的「非」現代主義作曲家來為《墨暈》援引；第四章為《墨暈》各樂章逐一分析；第五章以自身對創作的感受出發鼓勵自已繼續創作的路，為全篇輔助文件作下結論。

關鍵字

音樂創作；當代音樂；傳統樂器創作；弦樂四重奏；印象樂派

並列摘要

This is a string quartet consists of four movements. The piece was titled “Ink Spread” to illustrate the multivariate brushworks of the traditional Chinese painting. The four movements were then given subtitles of “Flowers and Birds”, “Lotus of Ink”, “Valiant Horse”, and “Spirited Waterfall”, each houses the “Meticulous”, “Freehand”, “Line Drawing”, and “Ink Splashing” schools of brushwork techniques; utilizing the unique bravura and essence of the different schools to paint the musical contour of the four movements. The Ink and Wash painting represents the pinnacle of Chinese Art. With an emphasis on the life force and energy of “Chi”, the Ink and Wash was able to speak directly into the hearts and souls with its lines and brushstrokes. Instead of focusing on focal perspectives or lights and shadows as do Western Arts, it puts a hint of abstractionism at afar, realism when up close, all while pursuing the momentum of the objects painted, and the courage to “blank”. In order to translate these unique characteristic of In and Wash into the form of a string quartet, “note blocks” were utilized to express the spread of the ink; “rests” were employed not only to “blank”, but to bring out the motive of pentatonic scale; “woven body” technique were experimented instead of constructing melodies as do the West to illustrate the theme of the four schools of brushwork. The first movement “Flowers and Birds” corresponds to the “Meticulous” school of technique, using polyphonic music to portrait the intricate brushwork and tonal harmonies in order to sketch the lustrous colors. The second movement “Lotus of Ink” expands the “note clusters” and slowly introduces the pentatonic motive to parallel the fruition of an idea in a painting as we move from near to afar. The third movement “Valiant Horse” steers clear from the viscous harmonies of the first two movements, intertwine dissonant motives with first violin soli to highlight the overarching theme that of the movements of the horse. The forth movement “Spirited Waterfall” utilizes unison harmony of open position and staggered dissonant harmonies to bring out the motive of pentatonic scale.

並列關鍵字

Musical composition ； contemporary music ； composing for traditional Chinese instruments ； string quartet ； Impressionism

參考文獻

Alegant, Brian (2001). Cross-Partitions as Harmony and Voice Leading in Twelve-Tone Music, Music Theory Spectrum. London: Oxford University Press,2001

Antokoletz, Elliott. The Music of Béla Bartók. A Study of Tonality and Progression in Twentieth-Century Music. Los Angeles, CA: University of California Press, 1990.

Bruhn, Siglind. Images and Ideas in Modern French Piano Music: The Extra-Musical Subtext in Piano Works by Ravel, Debussy, and Messiaen. New York, NY: Pendragon Press, 1997.

Kaminsky, Peter Michael, ed. Unmasking Ravel: New Perspectives on the Music. Rochester, New York, NY: University of Rochester Press, 2011.

Richard Taruskin and Christopher H. Gibbs, The Oxford History of Western Music. NY, Oxford University press, 2013.

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陳光展作品發表會含輔助文件絃樂四重奏作品《墨暈》之創作理念與分析

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