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題名:綜合打擊樂作品中無特定音高打擊樂器的音高設計與詮釋
作者:周芸如
作者(外文):Yun-Ju Chou
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:張覺文
學位類別:博士
出版日期:2017
主題關鍵詞:綜合打擊樂無特定音高打擊樂器音高設計詮釋Multiple Percussionindefinite pitch percussion instrumentstonal controlinterpretation
原始連結:連回原系統網址new window
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本研究旨在探討綜合打擊樂作品中無特定音高打擊樂的音高設計與詮釋,為達研究目的,本研究採文獻分析法及行動研究法依序針對打擊樂的發展演進史、 二十世紀後新的打擊樂編制如綜合打擊樂、爵士鼓、打擊樂團、行進打擊樂等,無特定音高打擊樂音高設計、音高詮釋對打擊樂演奏的重要性、音高設計的方法與步驟、近代擊樂相關作品及其演奏技巧等議題進行文獻探討、實務演練研究及詮釋分析,獲致研究發現及結論如下:
一、在詮釋打擊樂作品過程中,進行無特定音高打擊樂的音高或音程的設計與詮釋,其重要性在於凸顯樂曲的線條及作品結構,從而加深對音樂作品內涵的理解,並讓演奏者的詮釋擁有獨一無二的演奏價值。
二、本研究針對數首打擊樂作品依不同編制與作品情況進行探討分析,發現可從聲響的角度出發,運用音樂理論如音程、音階、旋律的音型等來進行音高的設計與配置,並設計出一套音高的詮釋步驟。
三、無特定音高打擊樂的音高及音程配置,有助於演奏者在進行擊樂作品詮釋時產生進一步的音樂思考,並以多元的表達方式來呈現擊樂音樂的各種樣貌;在教學上能夠從聲響的層次來引導與啟發學習者;在欣賞上也能從不同的演奏詮釋中得到多元的音樂視野。
四、本研究發現從音高設計的角度來看,綜合打擊樂的打擊樂器曲可分為無特定音高打擊樂器為主的曲目,以及音高打擊樂器與無特定音高打擊樂器的曲目兩類,這兩類在音高詮釋與處理的方式不同,前者的音高設計除了作曲家的設定及作曲結構的框架外,演奏者可有更多詮釋空間與變化;而後者由於無特定音高打擊樂器的音高受到音高打擊樂器的影響,依據情況使用音程配置或特定的音高配置。
本研究依據研究所獲研究發現與結論,針對擊樂的演奏、詮釋、教學及欣賞等方面提出不同建議,期供為未來進行相關研究之參考。
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