Kaija Saariaho 這首名為水晶的管弦樂曲，仍然是以音色、織度的變化為主要焦點的作品，以清晰、而節奏固定的重複音開始，排除單線條內的音高變化，乍聽之下，以為是某個導奏似的片段，以穩定的音響期待旋律性的材料之出現，但經過一定時間後，卻發現後來樂曲發展並不使用旋律性的材料，而是直接運用重複音，逐漸堆疊出的特殊音響與織度。這種風格的作品，在小型室內樂編制中，並不易發揮，但管絃樂團卻非常適合用來營造此類作品所需要的效果。我以為在聆聽經驗上，只需感受整體的音響與織度之輪廓，並不似聆聽以複雜音高變化為主的音樂作品時，需要立即分析、前後比對才能粗略理解句法、動機之間的關係。然而在創作上，如何避免使用千篇一律的手法而落入一種風格化的窠臼，卻是眾多作曲家們的難題。Saariaho 在這方面的處理上，我個人還蠻喜歡的。
There seems to be this category of "pulse composition" previously undefined but nonetheless exists. I have been interested in this type of music for quite a while but just recently got in touch with Shinji Kanki 菅木真治, who used the term "pulse" to describe the rhythmically animated but harmonically static music. It is a lot of fading in and out in groups, thus accomplishing textural morphs. Saariaho also uses pulsation in her works. French composer and my dear friend Benoit Granier, who teaches at Beijing Central Conservatory and Beijing University, also uses this technique a lot.
回覆刪除Check out some examples on 菅木's website:
http://silakka.fi/PCM/index.html
Do listen to the recording of "PCM 0355+53". It is long but really interesting. well worth the time.
曉嵐
Thank you for the info. I like the way you describe it:"a lot of fading in and out in groups, thus accomplishing textural morphs." I have not yet had time to listen to the music you mentioned and will try the link some other time. Thank you so much.
回覆刪除As for Saariaho's piece and similar pieces of other composers, I noticed that they usually have to rely on percussion instruments rather than drone-like texture to create the musical shape. I am curious about whether there are other successful pieces of the same style without relying on percussion instruments to create their climax. Some people think that relying too much on percussion instruments to create climax is just a cliche.