對於史托克豪森「瞬間結構」理念之研究與其影響音樂創作《意象之流》之運用

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dc.contributor趙菁文zh_TW
dc.contributorCHAO, CHING-WENen_US
dc.contributor.author吳媚烜zh_TW
dc.contributor.authorWU, MEI-HSUANen_US
dc.date.accessioned2020-12-14T09:08:28Z
dc.date.available2020-09-16
dc.date.available2020-12-14T09:08:28Z
dc.date.issued2020
dc.description.abstract瞬間結構（Moment Form）為二十世紀作曲家史托克豪森於1950年代所提出的音樂創作技法之一，其將音樂結構以每個瞬間（Moment）作為劃分，不再強調音樂的起、承、轉、合，而是專注於每個音樂瞬間上。史托克豪森曾說：「…而是在專注於每個當下，每個當下的垂直片刻上，而此將水平的時間概念切割至永恆—我稱之為『永恆』，『永恆』並不是在時間的盡頭發生的，而於每一個『瞬間』中達到。」本文透過分析借鑒史托克豪森之瞬間結構手法，並說明筆者將其精神應用在自身以「水」為中心主題所創作的音樂作品《意象之流》之創作理念與分析。zh_TW
dc.description.abstractMoment Form is one of the music composition techniques proposed by the 20th-century composer Stockhausen in the 1950s. It divides the music structure into each moment, and no longer emphasizes to the continuity of musical structure. According to Stockhausen: “… but rather in which concentration on the Now—on every Now—makes vertical slices, as it were, that cut through a horizontal temporal conception to a timelessness I call eternity: an eternity that does not begin at the end of time but is attainable in every moment.” This thesis begins with the analysis of the “Moment Form” created by Stockhausen, then interprets that how to apply and reflect the “Moment Form” on “The Flow of Imagery”, which contains a water motif, composed by WU, Mei-hsuan, the author of this thesis.en_US
dc.description.sponsorship民族音樂研究所zh_TW
dc.identifierG060691014M
dc.identifier.urihttp://etds.lib.ntnu.edu.tw/cgi-bin/gs32/gsweb.cgi?o=dstdcdr&s=id=%22G060691014M%22.&
dc.identifier.urihttp://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/111768
dc.language中文
dc.subject史托克豪森zh_TW
dc.subject瞬間結構zh_TW
dc.subject水音樂zh_TW
dc.subjectStockhausenen_US
dc.subjectMoment Formen_US
dc.subjectWater Musicen_US
dc.title對於史托克豪森「瞬間結構」理念之研究與其影響音樂創作《意象之流》之運用zh_TW
dc.titleThe Analysis of Stockhausen’s Moment Form and the Application to My Composition “The Flow of Imagery”en_US

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