《綠漾微波‧藍花島》—論現代繪畫與流行音樂之連結

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Please use this identifier to cite or link to this item: https://irlib.pccu.edu.tw/handle/987654321/35783

Title:	《綠漾微波‧藍花島》—論現代繪畫與流行音樂之連結 “The Green Ripples around the Lanyu Island”:A Study of Connections between Modern Painting and Pop Music
Authors:	白淩
Contributors:	音樂學系
Keywords:	流行音樂音樂與繪畫藝術感通
Date:	2017
Issue Date:	2017-04-07 13:55:06 (UTC+8)
Abstract:	《綠漾微波‧藍花島》是筆者根據佩爾•柯克比的繪畫作品《綠微波》所譜寫的流行音樂樂曲。本論文的研究目的在於探究如何以流動的音樂表現凝固的繪畫，並延伸討論流行音樂編寫與創作的應用。　　本研究主要採用文獻研究法與創作實踐法。第一階段廣泛閱讀「藝術感通」理論資料作為學理基礎，蒐集以繪畫作為靈感的流行音樂創作並從畫作、創作背景、曲式與歌詞四個面相切入研究，最後歸納樂曲與繪畫之間的關聯。第二階段身體力行進行音樂創作，筆者將靈感來源的繪畫《綠微波》深度剖析，透過音樂創作加以詮釋繪畫所蘊含的畫面、氛圍與理念。第三階段探討樂曲《綠漾微波‧藍花島》的繪畫性表現。　　經過本次研究，筆者對於音樂與繪畫兩種藝術之間的交流掌握更加清晰的脈絡，透過藝術感通理論分析與造型表現形式探討，建構出超越已往的創作慣性的作曲模式，將繪畫所訴說的語彙結合個人意志的心念感知，以聲響的震動呈現在抽象的音符之中，驗證藝術間相互流動的各種可能性，達到「樂中有畫」的目的。 The Green Ripples around the Lanyu Island is a piece of Pop music composed by the author, in June 2016, by adopting Leiser Wellenschlag Grün, a painting by Per Kirkeby. The purpose of this dissertation is to explore how to use music, which is with fluidity, to express solid paintings. This dissertation further discusses the application of writing and composing Pop music. The main methodologies adopted in this research are literature research and creative practice. In the first stage, the author comprehensively reads “correspondence” theories as the basis of theory, and collects Pop music that are inspired by paintings. Then, the author studies these cases with four aspects: painting, the creation background, the form, and the lyrics. Finally, the author induces the relationship between the piece of music and painting. In the second stage, the author carries out music creation, and analyzes Leiser Wellenschlag Grün, the inspiration of the creation, more deeply. Through the creation of music, the author interprets the scenes, ambiance, and ideas hidden in the paintings. In the third stage, the author examines the performativity of painting in The Green Ripples around the Lanyu Island. This research enables the author to a much comprehensive understanding towards the communication between music and painting. Through the analysis of correspondence theories and expression forms, the author constructs a composing mode that surpasses the previous inertias. The author combines the vocabularies with the will and the perception of the mind, and presents abstract notes with vibrations of the sound. By doing so, the author verifies the fluidity between the forms of art, to achieve the goal of hearing “a painting in music.”
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