鋼琴的新音響：拉亨曼《刮葫》研究

德國當代最重要的前衛作曲家之一拉亨曼(Helmut Lachenmann, 1935-)至今共創作七首鋼琴獨奏作品，《刮葫》(Guero 1969/1988)是其中曲風最為極端、前衛的一曲，全曲幾乎沒有一般傳統的鋼琴樂音，而是將鋼琴陌生化處理，讓它發出類似刮葫(源自南美洲的打擊樂器)的聲響，因此全曲幾乎是由噪音音響所組成，而呈現出拉亨曼獨特的「樂器具象音樂」(musique concrète instrumentale)風格。在《刮葫》一曲中，拉亨曼突破傳統，系統性地解剖鋼琴可以發出各式噪音音響的可能性，讓鋼琴發出前所未有的新(噪音)音響，不但豐富了當代鋼琴曲目的音色、拓展鋼琴演奏技巧，更突破過去大家對於鋼琴音樂的思維，增加了聽眾對於它的想像空間。上述《刮葫》對於當代鋼琴曲目所提出的創新與貢獻，使它成為一首重要的當代鋼琴曲目。本文因此主要針對《刮葫》進行詳細的音樂分析，期能釐清此曲前衛的風格特色和創新的音響材料與技法，進而理解拉亨曼獨特「樂器具象音樂」的風格特色與思考。

關鍵字

拉亨曼；《刮葫》；樂器具象音樂；現代鋼琴曲；前衛音樂

並列摘要

Helmut Lachenmann (1935- ) is one of the most important German avant-garde composers, and has created so far seven piano solo works. Among them, Guero (1969/1988) is one of his most avant-garde works. There are almost no piano sounds in the traditional sense in the whole piece, which is elaborated almost entirely from alienated (verfremdete) sounds [unrelated to traditional piano playing]. It sounds like Guero (or Guiro: a percussion instrument from South America) and consists of ＂noise sounds＂, which evoke Lachenmann's own particular style, namely ＂musique concrète instrumentale＂. Lachenmann systematically anatomizes the piano's various musical possibilities, and makes the piano produce new ＂noise sounds＂. He enriches the contemporary piano repertoire with these new sounds, requiring new piano playing skills and at the same time revolutionizing the traditional method of composing works for the piano. Lachenmann brings new vision to his audience, and his innovations and contributions to the piano repertoire make Guero one of the most important piano works of our time. This paper aims at a detailed analysis of Guero in order to clarify the characteristics, new sounds and skills of this avant-garde work, while also analyzing the features and musical rationale for Lachenmann's ＂musique concrète instrumentale＂.