音樂「陌生化」與《狂想曲》、《對話遊戲》、《重生》的創作理念

• Main Author: 李若瑜
• Other Authors: 林進祐教授
• Format: Others
• Language: zh-TW
• Published: 2013
• Online Access: http://ndltd.ncl.edu.tw/handle/h6444k

碩士 === 國立臺灣師範大學 === 音樂學系 === 101 === Given the background of fast economic development in the 20th century, which leads to people’s anxiety, contemporary artists spare no efforts to provide an escape. In order to fulfill the requirements, musicians work hard to develop various sounds, materials, techniques, and notations which were barely used in the past. Composers especially devote themselves to making a breakthrough in the tonal system and reconstitute the scale formations. Gradually, numbers of techniques such as “chromaticism”, “serial music”, “total serialism” and“electronic music”emerge. “Aleatory music” like tossing a dice and diverse articulations have become essential elements in the contemporary music. Composers endeavor to produce unique sounds. Those new composing skills are named“defamiliarization.” However, whether the term means unfamiliarity or not and how it is adopted in the music are the main points in the essay. The writer starts with a description of the origin of“defamiliarization”, then followed by an overview on “defamiliarization” used in various arts such as literature, drama, dance, painting, and music. In addition, she focuses on “defamiliarization” in the musical works of the 20th century and analyzes it from three angles: “the opening of the tonality, melody, and harmony”, “the music structure”, as well as “ the rhythm”. Finally, the writer comes back to her own works and redefines the meaning of “defamiliarization” as well as its use.