| Summary: | 碩士 === 東吳大學 === 音樂學系 === 91 === 【Concertino Pianissimo】 concluded the three preceding periods of Dr. Yang’s career in music composition, that demonstrates his introspection and maturation of his music and life. We can now distinguish accordingly how the transformation of Yang’s ideological trend goes from composition of musical autonomy to the practice of symbolic sign in heteronomy.
Based on 【Concertino Pianissimo】 as musical text, and its music as symbol of the musician’s expression to his contemplation of life, in this dissertation, the author was trying to explore even the most insignificant sentiment and reminiscence carried out in the music, and how the musician employed sign and form to create a masterpiece so self-conscious and yet so moving. To excavate into the root of the music, this dissertation took Ernst Cassirer’s symbolisms as theoretical foundation, to exploit the hidden meaning within the signs. In the mean while, the author also involved rational explanation of form and straightforward conception, in order tot perceive the spiritual content of the signs.
Human are animals of signs. The realization and creation of signs depend on the process of recollection. In other words, we need the recollection of signs in order to look into ourselves, and to search for our true selves. Art is certainly not the only prospect of the signal recollection. But through the works of artists, the inspiration stimulated by our daily lives are able to present themselves as poetic form of signs, this creation of art leads us to more in depth insight and awareness. We are thus able to perceive the most significant and most complicated commotion of our minds through the symbolic meanings behind the signs.
1.Johannes Brahms: Academic Festival Overture, Op. 80
2.Felix Mendelssohn: Violin Concerto, e minor, Op.64
3.楊聰賢: 西北有高樓 (世界首演)
4.Wolfgang Amadeus Mozart: Symphony No. 39, E-flat Major, K. 543
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