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| 題 名 | 探討音堆技巧在柯維爾、凱吉與克倫姆鋼琴作品中的發展與延伸=The Development and Extension of the Tone Cluster in the Piano Works of H. Cowell, J. Cage, and G. Crumb |
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| 作 者 | 黃芳吟; | 書刊名 | 高雄師大學報 |
| 卷 期 | 13 2002.04[民91.04] |
| 頁 次 | 頁149-169 |
| 分類號 | 917.12 |
| 關鍵詞 | 音堆; 記譜法; 滑奏; 顫音; 柯維爾; 凱吉; 克倫姆; Tone cluster; Notation; Glissando; Tremolo; Cowell; Cage; Crumb; |
| 語 文 | 中文(Chinese) |
| 中文摘要 | 音色變化的彈性運用空間與演奏方式的變革，是二十世紀作曲家受音堆吸引的主因。一群鄰近不諧和音高，同時被手掌、拳頭、或前手臂壓下所產生的聲堆，除了影響二十世紀創作理念，亦突破鋼琴音樂及演奏方式近二個世紀以來的表現手法。音堆的創作觀念並非始於柯維爾，然而柯維爾擅於變化的創作技巧，以及堅信二度音程集結音響對未來創作的重要性，運用意堆技巧與效果開創了鋼琴音樂的另一片天地。 秉持著對鋼琴音色的探索與嘗試精神，柯維爾、凱吉與克倫姆三位美國作曲家因彼此師承關係或觀念上的互通刺激，音堆技巧的運用手法不僅彼此延伸，並各自加以發展。柯維爾建立的音堆記譜方式，藉由音高的確立拓展音堆與旋律、調性以及和聲結合的功能性，而凱吉與克倫姆加入長條塊狀的符號，取代符頭式記法對頂點音的要求，也同時捨棄柯維爾的音堆調性功能，著重音堆於音色上的展現。此外，柯維爾應用音堆於琴弦上，發展與琴鍵音色相對的變化概念，引發凱吉發展加料鋼琴的靈感，克倫姆則深入音堆與傳統技巧滑奏、顫日等結合方式，同時掌握踏板與琴弦音共振的音色特質。在彈奏技巧方面，柯維爾擅長運用傳統式手指觸鍵與音堆手掌、拳頭或前手臂之間互換的彈奏效果，凸顯不不肢體部伅運用的協調技巧。凱吉與克倫姆強調琴弦上的演奏方式，則明顯見於踏校與肢體動作間的複雜配合，也其是克倫姆開發結合持音踏校與音堆所產生的迴音效果，更為音堆開拓另一發展空間。 三位作曲家的創作理念，對近代鋼琴音樂發具相當的指標作用，而三者運用音堆技巧的創作時期，亦分別跨越了美國二十世紀鋼琴音樂發展的早中晚期，而藉由探討三個不同時期、創作者對音堆的發展與延伸，提供讀者對音堆概念更深入的認識，以及演奏三位作曲者相關作品時詮釋的依據與技巧的掌握。 |
| 英文摘要 | The composers of the twentieth century are attracted to tone cluster due to its diversity of timbre and non-traditional ways of performing. The piano cluster represents a group of adjacent notes played together with palms, firsts, or forearm flats. It does not only influence the composing trend of the twentieth century, but also alters the way of piano playing since the eighteenth century. Tone clusters are not first used by Henry Cowell. However, based on the belief of the abounding possibilities of the 2nd interval in the future, Cowell fully developed the cluster concept and transformed it into an unique element of composing. Cowell established various forms of cluster symbols. A thick stem joining two note heads at their center is his typical figure of clusters. He explored the melodic, tonal, and harmonic functions by indicating the outer notes of clusters. Cage and Crumb extended Cowell's concept of clusters and came up their own styles. Cage and Crumb added a block figure to represent the approximately range of clusters. They both emphasize on the timbre effect rather than the melodic function of clusters. Cowell, Cage, and Crumb all explored the unorthodox effects produced by playing strings inside the piano. Cage even extended the concept to a new system- the prepared piano. Crumb applied the technique of glissando and tremolo with clusters to create various timbres. He also liked to combine the usage of pedals with clusters. In the performing technique of clusters, Cowell alternates the touch of fingers with the pressing of palms, fists, or forearms. The coordination of body movements is a major technical challenge in playing his music. Cage and Crumb's music require more control of pedal handling and string playing. Crumb further develops the resonant and background effects of clusters which are obtained by first pressing the clusters silently and then playing the other notes. The appearance of these three composers' application of the cluster techniques almost covered the entire twentieth century. Their concept of clusters has a profound influence on the rest of the composers. This paper starts from a biographic study of these composers. Following an analysis of clusters in their piano music, this work compares the notation, function, and technique of clusters. It provides an in-depth perception of tone clusters. Though the understanding of the different styles of clusters among these composers, the musician play and express their music more precisely. |
本系統中英文摘要資訊取自各篇刊載內容。