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標題: | 聆聽一戰:樂團「新建築倒塌」的《輓歌》 Listening to WWI: Einstürzende Neubauten’s Lament |
作者: | Tzu-Ying Chuang 莊子瑩 |
指導教授: | 楊建章(Chien-Chang Yang) |
關鍵字: | 一戰百年紀念,藝術紀念,聆聽,再媒介,新建築倒塌, WWI commemoration,art commemoration,listening,remediation,Einstürzende Neubauten, |
出版年 : | 2020 |
學位: | 碩士 |
摘要: | 2014年,著名德國樂團「新建築倒塌」受比利時西法蘭德斯省政府委託,推出一戰百年紀念作品《輓歌》。他們以歷史材料為本,創作一系列風格殊異的聽覺作品。本研究以近年媒介技術發展與記憶實踐關係的相關討論為基礎,探討《輓歌》如何透過音聲在媒介質料與形式上具備的特質,重新媒介關於過往的物件、概念或創作,主張《輓歌》藉由這樣的手法,凸顯一戰文化記憶的動態面向,以此形構紀念意義。 本研究將《輓歌》置於全球化的當代文化記憶脈絡,援用阿萊達.阿斯曼的記憶「全球符徵」概念,試圖理解一戰如何藉由音聲創作適應當代脈絡,並借用近年以「再媒介」理解複合媒介記憶實踐的討論,來揭示《輓歌》在前述脈絡下運用既有材料的特殊之處。分析則啟發自強調感知的音樂意義探討,透過留意作品中影響聆聽主體位置的變項,例如紀念命題、歌詞、曲風、發聲體、後製技術、曲式等,指出《輓歌》透過質料、時間與空間等音聲媒介特質,引導聽者以特定的角度,重新經驗既有的記憶材料。研究主張,《輓歌》處理這些材料時看似殊異的種種手法,皆指向材料中影響現今一戰或戰爭紀念普遍想像的諸多動態因素。透過媒介與文化記憶視角的介入,本研究將《輓歌》看似異於一般戰爭紀念的風格,詮釋為針對當今一戰文化記憶符徵的周旋與協調,聽者得以在聆聽中意識到一戰文化記憶並非穩定不變,而是受到各種媒介與記憶實踐的複雜影響並不斷變動,藉此重新協調自身與一戰歷史的關係,進而展現文化記憶實踐的主體性。 In 2014, the iconic German band Einstürzende Neubauten launched a WWI commemoration work Lament, commissioned by the Government of Flanders, Belgium. It is composed of a series of acoustic works in diverse styles, based on various historical sources taken from the wartime. The aim of the study is to show how Lament remediates traces of the past in views of the materiality of audio media and other parameters of sound or music. I argue that Lament formulates its musical meaning by revealing the dynamics of cultural memory shaping. The study puts Lament in the context of a globalized, contemporary cultural memory. I adopt Aleida Assmann’s concept of global icon to understand how WWI is adapted to new contexts through artistic production of sound and music. In addition, my analysis shows the unique strategies of interwoven context of mediation and cultural memory in Lament, by emphasizing the “subject-position” in listening, determined by the theme, lyrics, styles, sound objects, audio post-production and music genres. With this perspective, the thesis unveils that Lament’s sonic mechanism, especially on the aspects of materiality, time and space, not only mediates the past, but also reconstructs war memories through generations. Finally, I argue that the diverse composition methods employed by Neubauten show the dynamic aspects that form the common concept of WWI or war commemoration. I then understand Lament’s musical style as a continuous dialogue with WWI as a global icon. I conclude that Lament engages listeners in rethinking the formulation of war memory, by reconfiguring their relationship to WWI history, while their subjectivity is achieved in such practices of cultural memory. |
URI: | http://tdr.lib.ntu.edu.tw/jspui/handle/123456789/19077 |
DOI: | 10.6342/NTU202003841 |
全文授權: | 未授權 |
顯示於系所單位: | 音樂學研究所 |
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