Susanne K. Langer論音樂張力與時間性: 多層次分析初探

Abstract

音樂的張力特徵是一個被廣泛討論的美學議題，本文從Susanne K. Langer及Leonard B. Meyer的理論出發，透過討論David Lewin和Kurt Koffka對於時間及張力的論述，指引出「音樂張力作為時間性的動態過程」此一研究路徑。Langer將張力作為連結情感與音樂形式的重要聯繫，本文透過對於其對於張力及時間意象(image of time)概念的探討，釐清音樂的張力及時間結構兩者之間的關係。 在本文中，Lewin的現象學觀點及Koffka的格式塔(Gestalt)心理學理論提供了重新檢視音樂張力的視角，透過Lewin的現象學分析，音樂事件間的張力關係成為展開的時間向量(unfolding duration-interval vector)，並具有連續性及多層次的結構，本文將時間向量的概念置於Koffka的的「力場」中，從而提出「動態張力系統」的樂曲分析方法，Brahms第二號小提琴奏鳴曲第一樂章及Bartok第四號弦樂四重奏第五樂章的樂曲片段不但例示了不同節奏型態以及其它音樂元素所構成的各種張力關係，也展現了隨著時間不斷變化的動態張力結構。

Musical tension is a frequently discussed aesthetic issue. Proceeding from Susanne K. Langer and Leonard B. Meyer’s theories, this thesis utilizes related concepts of time and tension in David Lewin and Kurt Koffka’s theories to indicate the researching path that regarding musical tension as a dynamic process. In Langer’s theory, “tension” is a crucial concept connecting musical form and emotion. Through the investigation of her two concepts—tension and the image of time, this thesis clarifies the correlation between tension and timing structure. In this thesis, David Lewin’s phenomenological perspective and Kurt Koffka’s Gestalt psychology provide new horizons to reconsider the musical tension. The tensional relationships between musical events turn into the “unfolding duration- interval vectors” and exhibit consecutive multi-hierarchical structures. The author introduces the unfolding duration- interval vector into Koffka’s force field. Accordingly, the method of “dynamic tensional system” is proposed to analyze music. The examples of Brahms’ Violin Sonata No.2 mov.1 and Bartok’s String Quartet No.4 mov.5 not only demonstrate diverse tensional relationships among different rhythmic patterns and other musical elements but also illustrate how the dynamic tensional structure varies through the passage of time.