擊樂作品中音高、音色與節奏的探討—以臺灣當代擊樂作品為例

• Main Authors: Ing-Chih, Ko, 柯瓔芷
• Other Authors: Kii-Ming, Lo
• Format: Others
• Language: zh-TW
• Published: 2009
• Online Access: http://ndltd.ncl.edu.tw/handle/36771303144138365918

博士 === 國立臺灣師範大學 === 音樂學系 === 98 === Before the twentieth century, percussion was mainly used to enrich the timbre and sound effect in the European music. Multiple percussion as a force to be reckoned with in contemporary music began about the same time that tonality became less dominant. However, the loh gu (Chinese percussion) has played a crucial role in Taiwan for a long time with various combinations and applications. As a result, when the modern percussion was introduced in the 80’s, it was widely accepted and thrived in Taiwan in a very short time. Among the three elements of music-rhythm, melody, and harmony, the theories of the later two cannot be applied to percussion studies since the lack of definite pitch in percussion. Percussion is unlimited with one-of–a-kind rhythmic texture and timbre combination. However, in addition to little research on rhythmic texture and timbre combination, the complicated interactions among pitch, rhythm, and timbre make percussion analysis a challenge. In this study, 20 percussion pieces from 1980 to 2009 were collected. The fundamental motives were identified and the development of each motive was observed in each piece in the categories of pitch, timbre, and rhythm. The texture was then individually discussed in attempt to figure out the characteristics of the percussion work in Taiwan. The results show that pitch is often treated as timbre or rhythm while timbre and rhythm serve the function as form determination and music integration in the percussion work in Taiwan. As it reveals in study of the Taiwanese percussion work, the contemporary composers attempt to maintain the tradition and search for an innovative breakthrough based on the conventional techniques.