陳其鋼《逝去的時光》分析研究與自我音樂創作之應用

Abstract

陳其鋼先生（1951-）為當代樂壇中相當活躍的作曲家之一，他的作品頻繁地在世界各地反覆的演出，並於法國求學時受當代音樂大師梅湘（Olivier Messiaen, 1908-1992）賞識，並收為關門弟子，於梅湘門下學習了四年的作曲。陳其鋼先生因其一生輾轉於中國與法國生活，體驗著迥異的風土民情與國情文化，這樣的養分構成他音樂與思維的一大部分，也深深影響著他的創作，使他的音樂作品融合了中西方的音樂元素，展現了獨特的音樂風格與深厚的文化底蘊。本論文將以陳其鋼先生的《逝去的時光》（Reflet d`un temps disparu, 1995）作為研究主題，並藉由研究作品中的聲響配置、配器方法、段落安排、音高變化、創作背景，瞭解陳其鋼個人的美學觀與創作觀，最終筆者將以自我創作之分析，闡發陳其鋼與其作品對筆者自身創作以及美學觀的影響。Mr. Chen Qi-gang (1951-) is one of the most active composers in contemporary music, with his works frequently performed worldwide. During his studies in France, he was recognized by the renowned contemporary music master Olivier Messiaen (1908-1992), who took him as a student and mentored him in composition for four years.Mr. Chen Qi-gang's life, spent between China and France, allowed him to experience distinct cultural and national landscapes. These diverse influences have become a significant part of his music and thinking, deeply shaping his compositions. His works seamlessly blend Western and Chinese musical elements, showcasing a unique musical style and profound cultural depth. This thesis will focus on Mr. Chen Qi-gang’s composition” Reflet d’un temps disparu ” (1995) as the subject of study. Through an analysis of the work's sound design, instrumentation techniques, structural arrangement, pitch variations, and creative background, this paper aims to explore Mr. Chen’s aesthetic views and compositional philosophy. Ultimately, the study will reflect on how Mr. Chen’s works, and his personal approach to composition, have influenced my own creative process and aesthetic perspectives.