臺灣地區二十世紀東西方音樂的融合以辛德密特《法國號奏鳴曲》與賈可布《法國號協奏曲》之改編為例

文化大學機構典藏 CCUR > 藝術學院 > 音樂學系所 > 博碩士論文 > Item 987654321/24588

jsp.display-item.identifier=請使用永久網址來引用或連結此文件: https://irlib.pccu.edu.tw/handle/987654321/24588

题名:	臺灣地區二十世紀東西方音樂的融合以辛德密特《法國號奏鳴曲》與賈可布《法國號協奏曲》之改編為例 The combination of 20th century Western and Eastern music in Taiwan by transcribing Paul Hindemith 《Sonata For Horn and Piano》 and Gordon Jacob 《Concerto for Horn and Strings》 as example
作者:	梁豔琴
贡献者:	音樂學系
关键词:	辛德密特 Paul Hindemith 賈可布 Gordon Jacob 實驗音樂 Gebrauchsmusik
日期:	2013
上传时间:	2013-03-21 11:14:56 (UTC+8)
摘要:	1890年~1920年間的西方音樂被後世稱為「後調性」，這時期的音樂家主要認定傳統和聲理論已老舊，因而紛紛出現許多新的作曲手法，有些音樂家會完全打破調性、調式的使用，有些則使用其他地區國家的調式做為創新。在少了垂直和聲多了橫向調式情況下，本研究發現其音樂作品與受到西方交響化的中國樂團聲響愈趨接近，因此在潮流的驅使下，本研究試圖讓西方二十世紀作品之部分配器做改編，使用國樂器做一次實驗性的聲響展現。本研究主要是以辛德密特(Paul Hindwmith1895-1963)的法國號奏鳴曲與賈可布(Gordon Jacob1895-1984)的法國號協奏曲作為主要研究曲目，透過傳統和聲、對位等方式進行樂曲分析，發現兩個作品運用二十世紀的作曲手法所做出的旋律，常常會出現與東方相似的調式，因此特別將旋律透過國樂器獨特的音色強調出來，展現出新的詮釋方式。本研究秉持「實用音樂」的精神，希望透過改編，讓大眾透過此詮釋方式增加對二十世紀作品的接受度。 The term“post-tonal” is often used to describe Western music composed between the years 1890-1920. Musicians working in this period believed traditional harmony and theory had grown outdated and began experimenting with new compositional techniques. Some of the musician broke away from conventional usage of tonality and modality, and some found innovation through applying modes from non-Western musical traditions. With the diminishing use of vertical harmonies and the increasing use of horizontal modes and scales, compositions from this period shared many common traits with works produced by Chinese orchestras that have been heavily influenced by Western symphonic music. This study attempts to partially alter the instrumentation of a few 20th century Western compositions and replace certain instruments with Chinese instruments to allow for an experimental sonic interpretation of these pieces. The study focuses on Paul Hindemith’s “Sonata for Horn and Piano” and Gordon Jacob’s “Concerto for Horn and Strings.” Musical analyses of these pieces using methods of traditional harmony and counterpoint show that melodies created using 20th century compositional devices share similarities with various modes used in Eastern musical traditions. Based on this finding, the instrumentation of the pieces is adapted for Chinese instruments, allowing the unique timbre of Chinese instruments to bring out the melodies and reveal new interpretations. It is hoped that this method of adaptation, in line with the practical spirit of Gebrauchsmusik, can raise the public’s level of acceptance for 20th century compositions.
显示于类别:	[音樂學系所] 博碩士論文

文件中的档案:

档案	描述	大小	格式	浏览次数
http___thesis.lib.pccu.edu.tw_cgi-bin_cdrfb3_gsweb.pdf		9716Kb	Adobe PDF	2066	检视/开启

检视Licence

在CCUR中所有的数据项都受到原著作权保护.

数据加载中.....