音樂身體的空間建構及其地方感：以台灣大學鹿鳴廣場中的音樂身體為例

Abstract

音樂學研究中首先提出生活環境中聲響之研究的，是從1969年的雷蒙德•穆雷•沙菲爾（Raymond Murray Schafer）之音景（soundscape）概念開始。而史蒂芬•費爾德（Steven Feld）的聲響意義學 （acoustemology），以及布魯斯•R.•史密斯 （Bruce R. Smith）的 「以聆聽為基礎的生態學」（an ecology based on listening），則更進一步去探究環境中的音樂、聲響對人們活動之影響與意義。 不同於前述研究以人的心智、思想的角度來闡述音樂與環境的關連，本文將以法國哲學家莫理斯．梅洛龐蒂（Maurice Merleau-Ponty）的《知覺現象學》中，身體感知、身體運動而產生的「身體空間」做為連結音樂與環境的基礎，並於台灣大學鹿鳴廣場、師大公園採集田野資料，說明音樂身體藉由運動與外在物品發生關係，延展或重組其音樂身體圖式，並建立音樂身體空間。音樂身體空間一方面是身體主體主動對音樂環境的理解，一方面也是對環境在空間與時間上的限制以及特質有所呼應。這兩方面的動態過程總和成為音樂地方感。以此一音樂地方感的模式比較鹿鳴廣場與師大公園，更能說明兩者之不同除了來自客觀物質條件，更來自音樂身體空間於其間實踐與互動的結果。

In 1969, Raymond Murray Schafer developed an idea, soundscape, which is the first concept on sounds in our living environment in musicological field. Steven Feld’s “acoustemology” and Bruce R. Smith’s “an ecology based on listening” continued to discuss the meanings and influences of sounds in environment to human’s life and thinking. This thesis takes on a different path to investigate the relationship among musical sounds, human sensations, and the environment. Based on Maurice Merleau-Ponty’s “Phenomenology of Perception,” this thesis takes “bodily space” produced by body perception and body movement as the foundation connecting musical sounds and environment. Through fieldwork at NTU’s Lu-Ming square and Shi-da park, the author found out that a body actively make relationship with objects in the process of movement to extend or reorder it’s musical body image, then construct it’s musical bodily space which represents body’s active comprehension of environment. The musical bodily space’s reliance to environment and body’s response to spatial and temporal characters of the environment thus construct musical sense of place together. Comparing Lu-Ming square and Shi-da park by musical sense of place, the author found out that the differences of two are not only from objective aspect, but also from the result of interaction of musical bodily space and environment.