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題名:木琴琴槌發展與作品演奏之關聯性
作者:葉靜怡
作者(外文):Chin-Yi Yeh
校院名稱:國立臺北藝術大學
系所名稱:音樂學系博士班
指導教授:朱宗慶
學位類別:博士
出版日期:2016
主題關鍵詞:利.霍華.史蒂文斯迪根穆瑟安倍圭子安可創新木琴作品Leigh Howard StevensDeaganMusserKeiko AbeEncoreInnovativeMarimba Work
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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。
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.
中文書目
朱宗慶。《打擊樂演奏的探討》。台北:財團法人擊樂文教基金會,1993。
吳珮菁。《六支琴槌技巧在木琴演奏中的運用 :Wonderland : 2011吳珮菁木琴獨奏會之演奏詮釋》。台北:傑優文化,2013。
吳榮順編。《簡約雍容狂野-2006亞太傳統打擊樂器特展》。宜蘭:國立傳統藝術中心,2006。
黃馨瑩。《泰國皮帕特pi phat樂團的靈魂-泰式木琴ranat ek,關渡音樂學刊第七期》。台北:國立台北藝術大學,2007。
楊沛仁。《音樂史與欣賞》。台北 : 美樂出版,2001。
鄭德淵。《音樂音響學上冊》。台北:樂韻出版社,1981。
劉志明。《西洋音樂史與風格》。台北:全音樂譜出版社,1991。
謝寧譯。《音樂的科學原理》。台北:徐氏基金會,1984。

外文書目
Adato, Joseph and George Judy. The Percussionist''s Dicionary. New York : Belwin-Mills Publishing Corp., 1984.
Beck, John. Encyclopedia of Percussion. New York : Garland Publishing, Inc., 1955.
Blacking, John. How Musical is Man? U.S.A. : University of Washington Press, 1973.
Blades, James. Percussion Instruments and Their History. New York : The Bold Strummer, LTD., 1992.
Brindle, Smith Reginald. Comtemporary Percussion. New York : Oxford University Press, 1970.
Brinner, Benjamin. Music in Central Java. New York : Oxford University Press, 2008.
Chenoweth, Vida. The Marimbas of Guatemala. USA : The University of Kentucky Press, 1974.
Cirone, Anthony. Cirone''s Pocket Dictionary of Foreibn Musical Terms. Galesville MD : Meredith Music Publication, 2008.
Cirone, Anthony and Joe Sinai. The Logic 0f It All. California : Cirone Publucation, 1977.
Cook, Gary. Teaching Percussion. New York : Schirmer Books, 1997.
Druckman, Deniel. Marimba Master Class on Reflection on the Nature of Water by Jacob Druckman. MD : Meredith Music Publications, 2012.
Girsberger, Russ. A Practical Guide to Percussion Terminology. The United States : Meredith Music Publication, 1998.
Jones, A.M. Africa and Indonesia: The Evidence of the Xylophone and Other Musical and Cultural Factors. Leiden, Netherlands: E.J. Brill, 1971.
MacCallum, Frank. The Book of the Marimba. New York : Carlton Press, 1969.
Moore, L. James. Acoustics of Bar Percussion Instruments. Ohio : Per-Mus Publication, 1970.
Oxford University Press : Contemporary Percussion. London : Oxford University Press, 1970.
Press, Arthur. Mallet Repair. New York : Belwin-Mills Publication, 2006.
Reed, H. Owen. Joel, Leach and Deanna Hudgins. Scoring for Percussion. The United States : Alfred Music Publishing Co., 2010.
Sachs, Curt. The history of musical instruments. London : W. W. Norton & company, Inc., 1940.
Sorrell, Neil. A Guide to the Gamelan. America : Amadeus Press, 1990.
Stevens, Howard Leigh. Method of Movement for Marimba. New Jersey : Keyboard Percussion Publication, 1979.
Tenzer, Michael. Balinese Music. Singapore : Periplus Editions, Inc., 1991.
Wiggins, Trevor and Joseph, Kobom. Xylophone Music from GHANA. U.S.A. : White Cliffs Media Company, 1992.
Vela, David. Information on the Marimba. New Zealand : Institute Press, 1957-58.
Zeltsman, Nancy. Four-Mallet Marimba Playing. Wisconsin : Hal Leonard, 2003.

中文學術論文
李明皇。《水分對木琴聲音特質的影響》。台南藝術大學民族音樂學研究所碩士論文,2000。
吳思珊。《劇場元素在擊樂作品中的運用》。台北藝術大學音樂學系博士論文,2008。new window
林浩伯。《張鈞量《馬林巴木琴協奏曲》之樂曲分析與詮釋》。台北藝術大學音樂學系碩士班書面報告,2013。


 
 
 
 
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