木琴琴槌發展與作品演奏之關聯性

The Connections between the Development of Marimba Mallets and the Interpretation of Marimba Works

葉靜怡(Chin-Yi Yeh)

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(2016年)

摘要

木琴極早便出現於人類社會中，1949年，人類學家喬治．孔多米納(Georges Condominas)在越南發現估計已有五千前歷史之片狀岩石琴鍵，西元前2300年的石製鍵盤樂器以及西元前1000年的古老木琴遺跡皆於希臘被發現。木琴在東南亞、非洲以及中南美洲，一直以一重要民族樂器之角色存在於社會娛樂中。十九世紀末隨著半音琴鍵之改良及樂器公司投入製造，現代化木琴在樂器本身、演奏媒介－琴槌上始有急遽轉變。1940年第一個正式的木琴獨奏作品誕生，引發往後數十年蓬勃爆炸性之發展，木琴逐漸從民族樂器轉而演變為重要獨奏樂器。
木琴琴鍵由木頭製作而成，除了藉由演奏者之觸鍵控制可以改變其細膩音色，音色最主要之變化來自於演奏媒介－由各種不同形狀及硬度之槌心、不同材質之包覆線材、不同材質及長度之棒柄所構成之琴槌。1980年代，羅恩．布拉夫博士( Dr. Ron Broug)所作之歸納發現：約有五百多種鍵盤樂器之琴槌提供演奏者使用，相較於在木琴相關領域不斷發展之今日，琴槌的多樣選擇性早已遠超過此數字，每年尚在持續快速增加中。
1940年保羅．克雷斯頓(Paul Creston)為木琴作品開啟經典之窗，50年代演奏家逐漸拓展演奏技巧，60年代安倍圭子(Keiko Abe)點燃日本木琴圈輝煌的火光，70年代後諸多作曲家、演奏家、樂器公司共同為木琴作品、演奏技法，樂器及琴槌改良貢獻心力。筆者期望藉由木琴及其琴槌的相關研究，探討木琴於各地域的發展及其歷史沿革，探究琴槌組成諸元，了解其諸元之差異對於演奏及音色的影響，並藉由木琴作品觀其技巧發展趨勢、作品特色，探討木琴琴槌發展與作品演奏之關聯性。

關鍵字

利．霍華．史蒂文斯 ； 迪根 ； 穆瑟 ； 安倍圭子 ； 安可 ； 創新 ； 木琴作品

並列摘要

Xylophone appears very early in human society. In 1949, anthropologist Georges Condominas found stone Xylophone in Vietnam. It is estimated to be 5,000 years old. In 2300 BC and 1000 BC, the stone keyboard instrument and the ancient xylophone were both found in Greece. Xylophone and marimba have existed in the important social entertainment role of traditional musical instruments in Southeast Asia, Africa and Central and South America. In the nineteenth century, the marimba had the improvement of the chromatic keys. Some instrument companies invested manufacturing. The marimba began booming explosion of development in the instrument, mallets and works. It gradually turns evolved from the folk instrument as an important solo instrument .
Marimba keys are made from wood. Players can change the delicate timbre with the control of key-touching. But the main change in tone comes from the playing media – the mallet. Different mallets have a variety of different shapes and hardness of the core, the different material of the coated yarn, the different material and length of the handle. In the 1980s, Dr. Ron Broug investigate that about more than five hundred kinds of keyboard mallets offers players to use. Compared to the continuous development in related areas of marimba today, the diverse mallets still continue rapid increase in the annual.
In 1940, Paul Creston writes the classic works for marimba. In the 1950s, marimba players gradually expand techniques. In the 1960s, Keiko Abe is the leader of Japanese marimba development. After the 1970s, many composers, players and instrument companies make the effort together for the works, playing techniques, musical instruments and mallet improvements. I expect to understand the history of marimba in different regions through the research of development of the marimba and mallets, and the differences and influence when we choose different mallets through the study of mallet composition. The most important is to explore the connections between the development of marimba mallets and the interpretation of marimba works through the analysis of the works.

並列關鍵字

Leigh Howard Stevens ； Deagan ； Musser ； Keiko Abe ； Encore ； Innovative ； Marimba Work

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