由布列茲《訊息速寫》之分析至自身音樂創作的應用
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(2) Kris Falk.
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(4) . Pierre Boulez, 1925-. Serialism. Total. Serialism. Messagesquisse, 1976. .
(5) . Abstract. The prestigious contemporary French composer Pierre Boulez (b.1925) whose creations are bold, radical, fanatical yet remain order, makes rational thinking and music a perfect combination. Originating from the same strains of French music, beginning with Serialism and passing through Total Serialism, Boulez integrates rigorous mathematical ideas into his intuitive musical composition, enabling the technique of serial music an unlimited expansion. His works involve not only the pursuit of the Platonic ways of composing poetry but also the emphasis on the internal logic and the diversity of applying the serial technique, all of which display condensed ideological characteristics in his pieces – Messagesquisse (1976) reflects this creative and aesthetic outlook. The author attempts exploring Boulez’s composition techniques in Messagesquisse, analyzing how the element, hexachord is applied, exhibiting its distinctive appearances agilely within the paragraphs, and how the composer balances the uniqueness under the framework of the hexachord so as to achieve a perfect combination between the auditory effect and the form of music. Inspired by his work, the author will incorporate the preliminary results obtaining from the exploration of hexachord, and converts those reflections into the implementation of my piano creation, and then further extends the possibility of personal composing techniques.. Keywords: Pierre Boulez, Messagesquisse, Total Serialism, Hexachord.. .
(6) . ...........................................................................14 ...............................................................................20 ...........................................................................26 ...........................................................................37 ...........................................................................52 ........................................................................56 ............................................................59 .......................................................................................67 ...................................................................................71 . .
(7) . . . . Op. 33a . . . . . .
(8) . . . . .
(9) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
(10) . Pierre Boulez, 1925-. 1943. Conservatoire National Supérieur de. Musique et de Danse de Paris. Olivier Messiaen, 1908-1992. Anton Webern, 1883-1945 1913-1972 1862-1918. René Leibowitz, Claude Debussy,. Igor Stravinsky, 1882-1971. Piano Sonata No.2, 1947-1948 Arnold Schönberg, 1874-1951. Alban Berg,1885-1935. .
(11) 1. 1949. Internationale Ferienkurse für Neue. Musik Darmstadt. Quatre études de rythme Mode de Valeur et d’ Intensité,. 1949. 1-1. unordered G C Bb 2. I. Structures,Livre I, 1951-1952. 1-3. 3. Arnold Whittall. 1. 1989. Edward Campbell, Boulez, Music and Philosophy (Cambridge University Press, 2010), 176.. 2. Arnold Whittall, Serialism (Cambridge University Press, 2008), 172.. 3. Paul Griffiths, 159-160. A Concise of Modern Music. .
(12) 4. 1-3. 5. 1-1. 6. 1-2. 4. Arnold Whittall 2008, 172.. 5. Ibid., 172.. . Ibid., 172. . .
(13) . 1-3. I. 7. I. I. Edward Campell. 9. . Ibid., 173.. "The piece was composed very fast, during a single night, because I wanted to exploit the possibilities of musical relationships without allowing individual choice to intervene other than on really very basic levels of organization that of density, for instance." Dominique Jameux. Pierre Boulez. (Cambridge, Massachusetts: Harvard University Press, 1991), 52. . Edward Campbell 2010, 176. . .
(14) . from a real theme to a virtual theme. 1958. Alea. pitch domain 12. pitch-class multiplication 1953-1955. Le Marteau sans maître, 1953-1955. 10. Pierre Boulez, Leçons de musique (Points de repère III) (Textes réunis et établis par Jean-Jacques Nattiez, Paris, Christian Bourgois Éditeur, 2005), 306-308. Hans Heinz Stuckenschmidt, Musik des 20. Jahrhunderts, (Kindler Verlag GmbH, München, 1979), 219. . pitch-class multiplication . .
(15) . 1954. Near and Far. . I. 1961. 14. Arved Ashby. 15. 1963. Musical Technique. "The series is not an order of events but a hierarchy which can be independent of that order." Pierre Boulez, Stockakings from an Apprenticeship, trans. Stephen Walsh (Oxford: Clarendon Press, 1991), 149-150. . Arved Ashby, Schoenberg, Boulez, and Twelve-Tone Composition as "Ideal Type". Journal of the American Musicological Society, Vol.54, No.3 (Autumn 2001), 610-611. 15. Ibid., 610-611.. 16 "whose hierarchy is no longer based on the principle of identity by transposition, but, on the contrary, on localized and variable deductions." Pirre Boulez, "Music Technique" in Boulez on musicToday, trans. Susan Brashaw and Richard Rodney Benett (Cambridge: Harvard University Press, 1971), 42.. .
(16) . Peter F.Stacey. 18. Messagesquisse, 1976. Prime Retrograde. segmentation. Inversion. 19. Retrograde Inversion. trichords. tetrachords. hexachords . 17 "organizing a FINITE ensemble of creative possibilities connected by predominant affinities…The possibilities are infinitely vast, and end in series having only a very distant relationship with the primitive series of twelve sounds. " Pirre Boulez, "Music Technique", 35,40. . Peter F. Stacey, Boulez and the Modern Concept (England: Scolar Press, 1987), 13.. . .
(17) . 20. 1-4. Op. 24. Konzert, 1934. 1934 1-4. . 1995. 94. 21. 1999 . . 62. 21.
(18) . 22. 22. 1999 56-58 . .
(19) . 1-5. 23. Op. 25. . Joseph Nathan Strauss, Introduction to post-tonal theory, (London: Prentice Hall, 1990), 30-31. . .
(20) . 1923. 25. Suite op. 25, 1921-1923. 1-5 E-F-G-Db 1-5a 1-5c. 1-5b. 1-5d 1-5d. 1-6. Op. 25. 24. 24. 2002 . . 134.
(21) . 1-7. Op. 25. 1-8. Op. 33a. 25. 26. 25. 1-6 33a. 1-7. Klavierstück op.33a, 1928 1- 8. 25. 2002 135. 26. 2002 136 . .
(22) . 27. – A Eb C B G Bb. hexachordal row). Eb. S C. . 1995. 94. . . C.
(23) . 1976. Paul Sacher, 1906-. 28. 1999. Mistislav Rostropovich, 29. 1927-2007. Conrad Beck, 1901-1989. Luciano Berio,. 1925-2003. Pierre Boulez, 1925-. Benjamin Britten,. 1913-1976. Henri Dutilleux,1916-. Wolfgang Fortner,. 1907-1987. Alberto Ginastera, 1916-1983. 1930-. Hans Werner Henze, 1926Klaus Huber, 1924-. Cristóbal Halffter, Heinz Holliger, 1939-. Witold Lutosławski, 1913-1994. 28. ·. 1926. Basel Chamber Orchestra. ·. http://en.wikipedia.org/wiki/Paul_Sacher#Biography-0 29. 14. ·. 1927 7 1943. http://en.wikipedia.org/wiki/Mstislav_Rostropovich#cite_note-Olga_Sobolevskaya. . 3. 7.
(24) 30. (neologism). Messagesquisse portmanteau word. messages sketch. esquisse. “es”. Sacher. Eb – A – C – B – E - D. 31. hexachordal row. 1923. Kammerkonzert für Klavier und mit Geige. dreizehn Bläsern, 1923-35 50 40. 1925. 2. 9. 30. Boulez, Sur Incises; Messagesquisse; Anthèmes 2, Deutsche Grammophon GmbH, Hamburg, June 12, 2007. . Sacher E flat =S =H R = re = D Boulez, Sur Incises; Messagesquisse; Anthèmes 2, Deutsche Grammophon GmbH, Hamburg, June 12, 2007. . B.
(25) . Arnold Schönberg a-d-es-c-h-b-e-g. Anton Webern. a-e-b-e. Alban Berg. a-b-a-b-e-g. Messagesquisse, for 7 violoncellos. Eb – A – C – B – E – D permutation 2-1 Eb – A – C – B – E – D A– C– B– E–D. Eb Eb. - m2 - P4 - M2 - m2. A4 - m3 (m3). A4 m3 - m2 - P4 - M2 - m2 - A4 Eb . 2002. 85. . .
(26) . Eb. 2-1. 2-1. Eb. .
(27) . 2-1 Eb. Eb. 2-2. 2-2. Eb. Morse code 33. 2-2. 33. ·. 1835 · http://en.wikipedia.org/wiki/Morse_code . .
(28) . S. A. C. H. E. R. Eb. A. C. B. E. D. .
(29) . 2-1. 7. 2-1. . 54.
(30) . 2-3 Eb. Eb – A – C – B – E – D 2-3. D Eb. 2-3. .
(31) . 2-4. 2-4. Eb. 2-5. .
(32) . 2-5. 2-6. .
(33) . 2-6. Eb. Eb Eb-A-C-B-E-D Eb-Gb-F-Bb-G#-A. Eb. A -. A-C-B-E-D-Eb. . -.
(34) . . 1’50. Eb. 2’15. A C B E D. 1’45. Eb. 1’32. Eb. 13”. Eb. 21”. Eb. . . .
(35) . pitch duration. timbre. intensity. Eb. 2-7. 2-7. .
(36) . 2-8. Eb –. D – G – F – F# – C. Eb – F# – F – Bb – Ab –. A. 2-8. Eb – A – C – B – E – D 2-9 D. Eb. .
(37) . 2-9. Eb. 2-10 -. . . -.
(38) . -. Eb. 2- 10. 2-11 1. 2. 3. 4. 5. Eb superimpose juxtapose .
(39) . 2-11. .
(40) . 1. 2-12. S. Eb. × 2/3. A. A. ×1. C. C. × 4/3. H. B. ×2. E. E. ×3. R. D. ×4. 2. D. Eb. Eb. A. .
(41) . S. A. C. H. E. R. Eb. A. C. B. E. D. a. b. c. d. e. f. .
(42) . 2-13. 3rd. 4th. 5th. 6th. 7th. 1st 2nd. efabcd. 3rd. deabc. defabc. cdab. cdeab. cdefab. bca. bcda. bcdea. bcdefa. abc. abcd. abcde. abcdef. 4th 5th 6th. ab. .
(43) . Eb. S. A. C. H. E. R. Eb. A. C. B. E. D. a. b. c. d. e. f. = a. 2-14. ×4. =. : Eb. b. -. :A. -. pizz . ×4. arco.
(44) . col legno battuto. arco sul ponticello. 2-15. 2-15. -. -. -. -. -. . -.
(45) . (1). 2-8 ppp. f. f. (2). ppp. sf. p. mp. mf. f. ff. fff-f-mf-mp-p-pp. . p. pp. mp. p. 2-9. mf. f. pp. ppp-pppp. 2-9. . piu f.
(46) . . A. 6. 9. A. C. B. D E E. - D D D. A. B. E D. 11 13. 6, 9, 11, 13 - E. C. - A C A. C. C C. - C B. B. B. E. E D. -. E D. 2-10 A Eb. A C. B. E. D A A Eb Gb F Bb Ab 2-11. (m3). A4 m3 - m2 - P4 - M2 - m2 - A4 A. .
(47) . Eb. A. C. B. E. D. A4 A. m3 Eb. m2 Gb. P4 F. M2 Bb. m2 Ab. A. A A. . C. B. E D.
(48) . 2- 16. 2- 16 1. A. A. C. :. A. 2- 17 A. . C.
(49) . 4a 2-17. A 654321 123456. 165432. 2-18. A. 2-18. A. .
(50) . 2 C 2-19a. 2-19b. a.. b. 2-19 C. .
(51) . 2-20. A C. .
(52) . 4a. A. B. D. A. C. B. E D. Eb. -. 2–4–4–2. -. 4–8. -. 6–6–12. - 8–16–8–8 -. 2–4–4–2. -. 2–4. 2–4–2–2. 2–2–4. Eb. A C B E D. . -.
(53) . 2- 21. .
(54) . 2-12. -6. -9. -11. -13. A C. .
(55) . A. C. B. E. E. D. D. A. C. C. B. E. D. 6--1. 6--1,. 1--6,. 1--6. 9--1. 9--1,. 1--11. 11--1. 1--11,. 13--1. 1--13,. 13--1. 1--13. 1--6. 6--1. A. C. B. B. E. D. 2. 4. 4. 16. 8. 8. 1--9. 11--1. E 2. D 4. ×1. 8. 6. ×2. 6. C 12. 8. ×3. ×4. 2. 4. 4. 2. 2. 4. 2. 2. 4. 2. 4. 2. 2. A. C. B. E. E. D. D. A. C. C. B. E. D. . A. 13--1.
(56) . 2-22 Eb. 654321 2-24. Eb 2-23 pp. 13 (6). 2-22. Eb. . 11. 9. (12) 6.
(57) . 2-23. 13. 2-24. .
(58) . 2-25. ff. pp. .
(59) . D. 2-26. 2-26. .
(60) . 1st 2nd 3rd. S. A. C. H. E. R. Eb. A. C. B. E. D. 1. 2. 3. 4. 5. 6. D. E. B. C. A. Eb. D. E. B. C. A. D. E. B. C. D. E. B. D. E. 4th 5th 6th. D. .
(61) . Eb Eb A C B E D. Eb. 2- 27. 123456. Eb -. Eb-A-C-B-E-D Eb-Gb-F-Bb-G#-A. . A-C-B-E-D-Eb. Eb A -.
(62) . 2- 27. 2-28. 2-28. .
(63) . E-Bb-Db-C-F-Eb. -. D-Ab-B-Bb-Eb-Db. 2-29. Eb. 2-30. .
(64) . 2-30. 2-30. 2-31. .
(65) . Klavierstücke Op.33a, 1928. combinatoriality 3-1 P-0 RI-5. Aggregate. . 34. Stefan M. Kostka, Materials and techniques of twentieth-century music, (Pearson Prentice Hall, 2006), 220.. .
(66) . secondary set. 35. 3-1. P-0. 36. RI-5. 3-2. 37. 3-2. . 1995. 64 . . Stefan M. Kostka 2006, 220.. . Ibid., 220. . .
(67) . 3-1. Klavierstücke Op.33a, 1928. 3-1. 3-1. . Ibid., 220. . . 14-18. 38.
(68) . Movements, 1958-59. 39. Retrograde (RIV) Inversion (INV). Retrograde-Inversion (RIV-INV). 3-2. . . . 40. 3-2. 39. Joseph Nathan Straus, Stravinsky’s late music (New York: Cambridge University Press, 2001),. 64-65. 40. Ibid., 66. . .
(69) . . I-V . Eb . C. Eb C 41. 3-3a 3-3b 123 456. . . I I. 41. . .
(70) . 42. 3-3. 3-3. 43. 42. Ibid., 67.. 43. Ibid., 67. . .
(71) . 44. 3-4a. 44. Ibid., 68. . .
(72) . 3-4b,c. 68-73. 3-4a. 3-4b 45. Ibid., 69. . . 45.
(73) . 3-4b RIV-INV—V INV—V. F#. C#. F#. F#. . RIV—IV F#—C#. — 3-4c Interludes. RIV-INV—V INV-V—. 11-12-13. F# F# C#. RIV-IV—. C#. INV-V—. Requiem Canticles, “Exaudi” 1965-6. .
(74) . 3-5. 3-5. 46. 76-80. A# A# A# A#. Robert Craft, 1923 46. . Joseph Nathan Strauss, Introduction to post-tonal theory, (London: Prentice Hall, 1990), 195. .
(75) . 1952 1956 Agon, 1957. . .
(76) . Polaris, 2012 –Bb. G. C. B Eb A. hexachordal row). C. Eb. S C 4-1. Bb. G. C. B. Eb. A. m3. P4. m2. M3. A4. m2. Bb. Eb. D. Gb. C. Db. Bb. . 4-1.
(77) . 4-1 Bb. 47. 47. Paul Griffiths. 1989. 173 . .
(78) . Cadenza. 4-2. 4-2. Bb. G. 4-3. C. B Eb A. 4-3. sostenuto pedal. Bb Bb .
(79) . Bb. 4-4. 4-4. Bb. 4-5. Bb. . 4-5.
(80) . Bb. Bb C. Eb. C. Eb. Bb Bb 4-2. 4-1. . . . . . 4-1. . .
(81) . mm.1- 6. = 76 = 40~50. mm.7-17. = 42~46. C. mm.18-25. = 76. Eb. mm.26-38. = 60. mm.39-44. Senza tempo. Bb. C Bb. Bb Bb 4-6. 4-6 Bb. . 4-7. Eb.
(82) . 4-7. Bb. 4-8. . 4-9.
(83) . 4-8. 4-9. 4-10. .
(84) . 4-10. Bb. G C. B. Eb. 4-11. . A.
(85) . 4-11. C. Bb. G. C. B. Eb. A. m3. P4. m2. M3. A4. m2. C. A. D. Db. F. B. C. .
(86) . .
(87) . 4-12. 4-12 4-13. 4-13. .
(88) . 4-14. 4-14. 4-15. 4-15. .
(89) . Bb Eb 4-16. 4-16. .
(90) . 4-17. C. Eb. Eb 4-18. 4-18. .
(91) . Bb. Bb. G C. B. Eb A. Bb. 4-20. 4-19 Bb. 4-20. Bb. IV. .
(92) . organized delirium 48. Serialism Aleatorism. Micropolyphony 49. 48. http://www.oxfordmusiconline.com/subscriber/article/grove/music/03708?q=Boulez&sea. rch=quick&pos=1&_start=1#firsthit. 49. 2008. 29 . .
(93) . A C B E D 6. 6. 9. 11. 9. 6. . 9. 11. 13. 13. 13. 13 (6). 11. 11. 9. (12) 6.
(94) . . . . .
(95) . .
(96) . 2001 2002 2001 2007. 2008. 1995. 1995 1999. Paul Griffiths,. A Concise of Modern Music 1989. Boulez, Pierre. Boulez on music Today, trans. Susan Brashaw and Richard Rodney Benett. Cambridge: Harvard University Press, 1971.. Boulez, Pierre. Leçons de musique (Points de repère III) Textes réunis et établis par Jean-Jacques Nattiez. Paris, Christian Bourgois Éditeur, 2005.. .
(97) . Boulez, Pierre. Stockakings from an Apprenticeship, trans. Stephen Walsh. Oxford: Clarendon Press, 1991. Campbell, Edward. Boulez, Music and Philosophy. Cambridge University Press, 2010. Jameux, Dominique. Pierre Boulez Cambridge, Massachusetts: Harvard University Press, 1991. Kostka, Stefan. Materials and Techniques of Twentieth-Century Music. New Jersy: Prentice Hall,1990 Straus, Joseph Nathan. Stravinsky’s late music. New York:Cambridge University Press, 2001. Stacey, Peter F. Boulez and the Modern Concept. England:Scolar Press, 1987. Stuckenschmidt, Hans Heinz . Musik des 20. Jahrhunderts. Kindler Verlag GmbH, München, 1979. Whittall, Arnold. Serialism. Cambridge University Press, 2008.. Ashby, Arved. "Schoenberg, Boulez, and Twelve-Tone Composition as Ideal Type. " Journal of the American Musicological Society. Vol.54, No.3 (Autumn 2001). Bonnet, Antonie. "Ecriture and perception: on Messagesquisse by Pierre Boulez. " Contemporary Music Review. Vol.2, Issue 1. (1987) : 173-209. . .
(98) Polaris accel. e rit. ad lib. 1. . . . stacc. sempre. . . Piano. . . . . . . . . 2. . 3. . . . . . . . . . . . . . . . . . . . . . . . . subito. . . . . . . . . . . . . . . . ca.7" . . . . . . . . . . . . . Sost.. . . . . . . . . . . ca.9" . . ca.5" .
(99) 2 4. . . . . . . . . . . . . . . . 5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ca.9" . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
(100) 6 . . . . . . . . . . . . R.H.. . . 3. . . L.H.. ca.15". repeat agitato with irregular rests . . . . molto. rit.. . cresc.. repeat 10 times with irregular rests. molto legato, . . 7. . . . . . . . . . . . . . . . . . . . . .
(101) 4. . 10. . . . . . 13. . . . . . . . . . . . . . . . . . . 5. . . . Sost. . . . . . . Sost. . . . . . . . . . . . . . . . . . Sost.. . . . . . . . . . . . . . . . 16. . . . . . . . . . . . . . . .
(102) 18. . . . 21. . . . . . . . . subito . . . . . . . . . . Sost.. . . . . . . . . . . . . . . . . . . . . . . . . subito. 5. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19. accel. e rit. ad lib. . . . . . . . . .
(103) 6. . . 22. . . Sost.. . . . . . . . . . . . 24. . . . . . . . . . 25. . . . . . Sost.. . . . . . . . . . . . . . . . . . . cresc.. . . . . . . . . . Sost.. . . . molto. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
(104) . . . . 26. . . Sost.. 33. . . . . . . . . . senza tempo 39. . Sost. . . . . . . . . . . . . . 7. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ca.9" . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
(105) 8. . 40. . . . . . . . . . . . ca.6" . . . . . . . . . . . . . . . rit.. . . . . . . . . . . . . . . . . . . . . ca.10" . . . . 43. . . . . . . . . . 41. . ca.10". . . . . ca.8" . . . . . . . . . .
(106)
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