| 摘要: | 打擊樂在一般樂團中引領、主控曲目節奏的進行，是受人矚目的焦點，透過打擊樂器的運用，讓音樂更有強烈的節奏感與表演氛圍，因而成為是樂團中不可或缺的角色，且不論樂器的造型，還是打擊樂所發出的音量，總是令人為之震撼，在尋索史籍、探討打擊樂由來的歷史中，打擊樂器自古就融入人們的生活中，也於各科儀或征戰的長河中被廣泛運用，目前的文獻中對於擊樂的相關研究，都著重於以馬林巴為主的樂曲進行分析，以樂器排列位置影響演奏手法的研討文獻並不完善，講述排鼓排列位置與演奏方法相關性的文章亦不完整，多數的文獻中，仍主要著墨在樂曲的分析與配置器樂的安排，且大多以西洋打擊樂為主，以中國打擊樂為主的文獻實為少數。 故本研究將以兩首排鼓曲目《山魈》、《風如松》實際操演為例，為了在演奏中更加了解排鼓的演奏手法，以及在不同排鼓數量的曲目演奏時，有何不同的手法運用？其影響與效果有何差異？而在排鼓數量較少的曲目中演奏的手法多為跨手演奏，在排鼓數量較多的曲目中經常出現的演奏手法是快速位移，而如此的演奏技巧是否尚有更多可加以改進的空間？ 為探討上述議題，本研究除了透過文獻探討的方式加以探討，同時也藉由兩首排鼓數量不同曲目中節奏相似的樂段進行比較，從中找出樂器數量影響演奏手法的關聯性。在研究中更藉由文獻的探討與回顧、分析樂譜、實際操作等方法進行研究，目的在於藉由本研究的相關作為，重新探討 《山魈》與《風如松》這兩首曲目是否能有新的詮釋方式。 本論文共分為四個章節，探討排鼓排列的方式與其演奏手法如何影響樂曲的詮釋風格，第一章節為緒論其內容用來引導筆者研究的方向。第二章進行文獻探討，比照前人所作之研究及確定個人的研究方向。第三章節為《山魈》以及《風如松》的樂曲分析用以理解樂曲的段落與演奏手法。最後的第四章節是本文的結論，將樂曲《山魈》及《風如松》中所運用的演奏手法、樂器排列方式在詮釋上有何區別，做出歸納及分析最後得出結論。最後並以音樂會成果發表的形式，透過實際操作的方式展現加以呈現，以驗證研究成效。 本研究雖是初級驗證且不完整，期待後續有更多對於排鼓樂曲中樂器排列及演奏手法的論點出現，以及在打擊樂樂曲的詮釋上能有更多探討與研究，以完整此一論點的實作驗證與學術論述。
Percussion leads and masters the rhythm of the tracks in general orchestras, and is the focus of attention. Music will be more rhythmic and performing through the use of percussion instruments. Thus percussion become an indispensable role in the orchestra. Regardless of the shape of the instrument or the volume of the percussion, it is always shocking. In searching for historical records to explore the history of the origin of percussion, Percussion instruments have been integrated into people's lives since ancient times and were also widely used in various ceremonies or battles. However, in the current literature, the research literature on the influence of the arrangement of musical instruments on performance techniques is not complete, and the articles describing the correlation between the arrangement of drums and performance methods are also incomplete. Most of the literature is still focused on music analysis and musical instrument arrangement, most of which are mainly western percussion instruments, and the literature on Chinese percussion is actually a minority. Therefore, this study will take two actual performance of Chinese Paigu,“Mandrill”, “Wind like pine” as examples to learn more about the playing techniques of Chinese Paigu in performance, And to understand what different techniques are used when playing tracks with different numbers of drums? What is the difference between its impact and effect? The playing technique in tracks with a small number of drums is mostly a cross-handed performance, and the playing technique that often appears in tracks with a large number of drums is rapid displacement, but is there more room for improvement in such performing skills ? To explore the above issues, this research not only explores the literature through the method of discussion but also compares the similar rhythms in two pieces of different drum sets to find out the relationship between the number of instruments and the playing technique. In the study, through the literature discussion and review, analysis of the scores, practical operation and other methods of research, The aim is to re-explore whether the two drum tracks “Mandrill”, “Wind like pine” can be interpreted in a new way. This dissertation is divided into four chapters to discuss how the arrangement of drums and their playing techniques affect the interpretation style of music, taking the music “Mandrill” and “Wind Like Pine” as examples. The first chapter is an introduction to the direction of the author's research. The second chapter discusses the literature, compares the research done by the predecessors and determines the personal research direction. The third chapter is the analysis “Mandrill” and “Wind Like Pine”. The final fourth chapter is the conclusion of this article of What the interpretation of the differences between the performance techniques is and the arrangement of the instruments used in the music “Mandrill” and “Wind like pine”. summarize and analyze the final conclusion. Finally, in the form of the results of the concert through being presenting in a practical way to validate the effectiveness of the study. Although this research is a preliminary verification and incomplete, I hope that more arguments on the arrangement of instruments and playing techniques in drumming music will emerge in the future, as well as more discussions and research on the interpretation of percussion music, to complete this one. Practical verification and academic discourse of the argument. |
