在流變中的音樂與表達：以魏本之管弦樂作品《在夏風中》為例

Abstract

本研究以魏本1904年的田園詩作品《在夏風中》為例，通過德勒茲與瓜達西的哲學概念「流變」，探討在音樂感知中「表達」如何被生成與實現。在這部管弦樂作品中，一組由三個動機構成的動機組在音樂質料上高度相關，交織於調性的主與屬和弦聲響之上。這部作品採取一種較為開放的奏鳴曲式結構，作品中的各個動機被認為與原詩中的詩歌意象有所關聯。由此引出對於絕對音樂與標題音樂的經典討論：音樂究竟能否抵抗詩歌意象的滲入，維持其作為純粹音樂質料的自主性？德勒茲與瓜達西關於「流變」的後結構主義哲學，鬆動了各種觀念之間固化的領域邊界，並為重塑我們對音樂質料與詩歌意象的感知與表達方式提供了一種可能的方法論。藉由圖示，本研究呈現了音樂質料的「流變-詩歌意象」與詩歌意象的「流變-音樂」如何在兩個領域之間匯聚，即在「介於之間」中建構表達團塊。在這一流變的過程中，三個動機穿越過一陣風、一群雲雀、一片安寧與一場夏日風暴，形成四種彼此不同的表達。經由再領域化後的音樂與詩歌意象，使這些在音樂質料上嚴密相關的動機落入蘊含多重意義的表達團塊之中，並使「非聲音」成為可聽見之聲。本研究旨在拓展我們對音樂質料之統一性與穩定性的理解，並進一步闡明詩歌意象在音樂表達生成過程中所扮演的關鍵角色。

Focused on Webern’s orchestral idyll Im Sommerwind (1904), this research investigates how musical expressions are fulfilled by considering Deleuze and Guattari’s concepts of “becoming.” This orchestral work adopts a loose sonata form with a group of three motifs highly correlated with the original poetic images. Echoing the classic discussion of absolute music and program music, can the motifs—wavering among repetition, fragmentation, and modulation—resist the penetration of poetry and maintain their purely musical nature? By adopting Deleuze and Guattari’s post-structural philosophy of “becoming,” this thesis demonstrates the “becoming-poetic images” of musical materials and the “becoming-music” of poetic images, and the flow into the blocks of expressions between the two realms. In this process of “becoming,” the three motifs traverse a gust of wind, a flock of larks, a piece of tranquility, and a summer storm, forming four distinct expressions. The reterritorialized music and poetic images make these correlated motifs into blocks of expressions imbued with various meanings, rendering the “non-sound” sound. This study contributes to expanding our understanding of the unity and stability of musical materials, and clarifies the pivotal role that poetic images play in the formation of musical expression.