中國詩詞空間意境的概念在我音樂創作中的實踐

The Practice of the Spatial Artistic Conception of Chinese Poetry

林岑陵(Tsen-Ling Lin)

指導教授 ： 柯芳隆

國立臺灣師範大學/藝術學院/音樂學系/博士(2011年)

摘要

本論文包括三個部分：第一個部分為探討、分析中國詩詞中形成空間意境的方法。第二個部分以構成空間意境方法的概念為切入點，觀察分析近代音樂作品中空間意境的呈現。第三個部分以作品的實例作為運用中國詩詞空間意境的概念在我音樂創作中實踐的佐證。

本文首先闡述意境組成的要素，探討以「方向的對比」、「山水的對比」、「景物高下的對比」、「數量多寡的對比」形成空間意象，分析以蒙太奇手法建構出「空間的擴張」、「空間的凝聚」、「空間的轉向」、「空間的深度」、「空間的改造」、「空間的簡化」。再以上列各論點的概念，觀察分析近代的音樂作品。更進一步以筆者的作品之實例，作為實踐中國詩詞空間意境概念的佐證。

關鍵字

空間意境 ； 音響空間

並列摘要

The thesis includes three parts. The first part is intended to probe into and analyze the methods of forming spatial artistic conception. The second part is intended to observe and analyze the presence of spatial artistic conception in contemporary musical works from the perspective of the methods of forming spatial artistic conception. The third part is intended to present my works as an actual example proving the application of the spatial artistic conception of Chinese poetry to my musical creations.

The thesis first elaborates the essential factors that compose the artistic conception. It probes into how “contrast of direction,” “contrast of landscape,” “contrast of the height of scenery,” and “contrast of amount” form the spatial conception. It also analyzes how to employ the montage technique to construct “spatial expansion,” “spatial condensation,” “spatial direction change,” spatial depth,” “spatial transformation,” and “ spatial simplification.” It then observes and analyzes contemporary musical works from the perspectives of the above concepts. Lastly, it uses the author’s works as an example to prove and illustrate the practice of the spatial artistic conception of Chinese poetry.

並列關鍵字

Spatial Artistic

參考文獻

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Schoenberg, Arnold. 《Coherence, Counterpoint, Instrumentation, Instruction in Form》。 London: Nebraska, 1965.