本論文以東方與西方當代同年份的綜合打擊樂曲為主要研究，選用1990年蘇文慶創作的《節日鑼鼓》與戴夫‧霍林頓的《Cold Pressed》及2003年王以東創作的《八音和》與艾克哈德‧科佩斯基的《Canned Heat》，從中探討東方與西方的比較內容。
本文共分為四章，第一章緒論，為研究動機與目的、範圍與內容、方法與步驟及文獻探討；第二章為1990年東方與西方兩首作品之介紹與比較；第三章為2003年東方與西方兩首作品之介紹與比較，以上章節均包含作曲者簡介、樂曲創作背景、樂曲分析、記譜與演奏方式，並加入筆者自身對於樂曲的詮釋，以及兩首樂曲之比較探討；第四章結論。
筆者藉由探討樂曲中不同的寫作手法、素材應用與樂器音色等等，了解到東方與西方分別的風格語彙及特色，有助於筆者在詮釋上有更貼近樂曲的表達，希望此探討能提供對於打擊樂曲有興趣的演奏者或作曲家為資料之參考。
This paper studies the Western and Eastern contemporary percussion compositions of the same year, including Festive Percussion by Su Wen-Cheng, Cold Pressed by Dave Hollinden in 1990 and Eight Sounds in Harmony by Wang Yi-Dong and Canned Heat by Eckhard Kopetzki in 2003. This paper discusses and compares the above Western and Eastern percussion compositions.
The paper is divided into four chapters. The first chapter, introduction, includes motivation, purpose, contents of the study and methods, steps, and literature review. The second chapter is the introduction and comparison of the Eastern and Western compositions of 1990. Next, the third chapter is the introduction and comparison of the Eastern and Western compositions of 2003. The above chapters all include introduction of the composers, background, analysis, notation and performing of the compositions, along with the author’s own interpretations and comparison. Finally, the last chapter is the conclusion.
From the study of the composing and materials of the compositions and tone of the instruments, the author can see the different styles and features of Eastern and Western compositions, which helps to interpret and perform different pieces in the future. Finally, this paper is written in hope of providing future references for percussion performers and composers.
