關渡音樂學刊第五號 - 國立臺北藝術大學

Guandu Music Journal
Editor in Chief
WANG Mei-Chu
Editorial Committee
LEE Schu-Chi
WU Rung-Shun
KANG Mei-Fung
TSENG Hannpey
WEN Chyou-Chu
YANG Chien-Chang
LIU Rong-Yi
OU Yuan-Fang
CHIEN Shan-Hua
YEN Lu-Fen
Herrad von Landsberg

artes liberalis
Herrad von Landsberg 1175

Hortus deliciarum
Straburg1870
32

()
4(2006)
(Varna/Bulgaria)
(Stuttgart) 2006
~
(1977)
~
--
Orff Der
Mond~ DufayNuper Rosarum Flores
200612
........................ ...................1
(1977) ..................................................... .................25
.... .................51
Orff Der Mond ........................................... .................77
............ ...............105
DufayNuper Rosarum Flores ..................... ...............123
() .................................................... ...............157
2006............. / ...............171
() ......................................................................... ...............189
...................................................................................................................... 193
CONTENTS
Articles
Multi-thoughts of sonoristic space: a research of Lu Yens cello
solo Air.......................................................................................................... Dr. YIM Fuk-Wing.............................................1
A Study of the String Quartet II (1977) of Pan Hwang-Long....................... Dr. SUNG Yu-Jen.............................................25
The Return and Omnipresence of Pentatonicism- Ancient tones
and modern echoes in the works of Tru Takemitsu and Qigang Chen....... Dr. LIEN Hsien-Sheng.....................................51
Research on C. Orffs Musical Language of Mrchenoper
Der Mond................................................................................................. LIANG Hsiao-Ling..........................................77
The Aesthetic Development of Absolute Music in 19th Century
A Dialectic Discussion with Program Music.................................................. Dr. SHYU Mei-Ling.......................................105
The Cathedral of Santa Maria del Fiore in Music
An Exploration of Dufays MotetNuper rosarum Flores...................... SHEN Yu-Chi.................................................123
Conference Report
Report on The Fourth Meeting of the Study group Music and
Minorities of The International Council for Traditional Music
(ICTM) in Varna(Bulgaria)2006...................................................................... Dr. LEE Schu-Chi...........................................157
GRENZENLOS- ISCM World New Music Days 2006................................ CHOU Yi-An and JEN Chen-Hui.................171
Music Composition
Delirium for vocalist without perfect pitch................................................. Dr. HUNG Chung-Kwun...............................189
Authors Brief Resume.....................................................................................................................................193
5124
Guandu Music Journal No.05 pp.1242006

Taipei National University of the Arts, College of Music
ISSN 1814-1889
1997
sonoristic space
200612
Multi-thoughts of sonoristic space:

a research of Lu Yens cello solo Air
Dr. YIM Fuk-Wing

Associate Professor
Music Department of Soochow University
Abstract
Lu Yen in 1997, on invitation by the Contemporary Chamber Orchestra Taipei, has especially
written for performer Ku Mei Yu a cello solo Air. This work Air can be said as a mixture of
oriental musical beauty and characteristic of western contemporary musical vocabulary. At the
same time, it reflects Lu Yens musical thought and maturity of compositional techniques. This
has since the second half of the 1990s elevated his musical creative career to another peak. In his
work, the fascinated place is the ever-changing musical mood that has let people to strongly feel
the time flowing process in pursuing and expressing the different layers of sonoristic space. This
manner of expression has brought to the audience a seemingly unclear and unpredictable spatial
circumstance. This has much reflected the composers personal unique style and spatial feeling.
The main purpose of this thesis is to research the different musical elements in connection with the
sonoristic space in the work, and further understand the structural networks under the sonoristic
space multi-thoughts of the entire work.
Keywords: pitch, rhythm, timbre, texture, structure
Contemporary Chamber Orchestra Taipei
integrationunity
text
()()
()
5
5 2

95 1 26
200612
5
5
3
G-D, A-E 5
G-D, A-E
5 4developing variation5
()
5 5 2

G-D, A-E 5
Patricia Carpenter Severine Neff The Musical Idea and The Logic, Technique, and Art of its Presentation
247 Arnold Schoenberg developing variation. The changes proceed
more or less directly toward the goal of allowing new ideas to arise.
20
coda6
7
space notation
unordered
improvisation
chance
irreuglarity
diversity()
()

200612
()
prosaic
A A1
A2
A8

200612
accel. rit.
rubato
1.
E A
E ca.8
2. pause
F A
F
F
()
1997
10
10
1997
6-7
10
200612
B B1
cross-pulse
change
modulation
11
total structuremusic character

sectionalization
Allegro
cantabile cantabile
lento
characteristic
()
() ()
()
12
200612
()
non-traditonal performance
con sordinonatural
and artificial harmonicsmultiple stopspizzicatotrill
tremolo (con vibrato) 1/4 microtonesglissando
sul ponticello
()
registral
expansion
contrast
13
A2
A
G-da-e1 5 9
a 12
Db
()
11
11
B1 Eb b
14
200612
()
()
()
()
()
20
Anton von Webern, 1883-1945
pointillism
15
A1
()
B1
16
200612
B1
()
17
18
200612
19
s.1 - s.7
As.1 - s.3p.3s.3p.3 - s.4

A1s.1 - s.3p.3s.4 -s.7
As.1 - s.3p.3
G-da-e1 5
8
a 12
Db
eb2-a1b1-f1 4
5
12
14 c-B
E1 13 pp
d-Abgb-c1 14
g2 pp
12
4 5 e2-a1b1-f1
eb2-a1-b1-f1 a1-b1-f1 -eb2 b1-f1 - eb2-a1 f1 - eb2-a1-b1
13
E1
14
d-Abgb-c eb2-a1-b1-f1
20
200612
As.3p.3 - s.4
2 3
eb1-f1a-g A
A1s.1 - s.3p.3
A1 A
15
stasis
A1s.4 - s.7
16
m.1 - m.7
bridge
mometumimpetus
15
strophic form
16
21
chaos
B m.8 - m.18
17
A2s.1 - s.6
18
B1
17
G G-A-B-D-E
m.8 - m.9b1-e2-d2m.11 - m.12g1-(f#1)-e1-b-d1m.12 - m.14G-b1-e2- d2m.14 - m.15b1a1-e1 -g1
18
22
200612
B1 m.1 - m.14
pp
b-a-b-e1-d1-b E
19 m.15 - m.34
5
E E
pp 8 e-bg-d1
a-e1 5
db-ab e-b g-d1 b-f#1 f1-c2 5

a1-e2 ff
G-da-e1
19
23
24
200612
2004
1999
2004
1
1997 12-23
2
1999 29-31
55 2003 24-31
3
1997 3-7
Berry, Wallace. Structural Functions in Music. New York: Dover, 1987.

Carpenter, Patricia and Neff, Severine. The Musical Idea, and the Logic, Technique, and Art of its
Presentation. Indiana: Indiana University Press, 2006.
Dallin, Leon. Techniques of Twentieth Century Composition: A Guide to the Materials of Modern
Music. Dubuque: WM.C.Brown, 1974.
Kostka, Stefan. Materials and Techniques of Twentieth Century Music. New Jersey: Prentice Hall,
1990.
1997
52550

ISSN 1814-1889
25
(1977)
(Zweites Streichquartett,
1977)
1977 (Hannover)
(Helmut Lachenmann)
(musique concrte instrumentale)
(Anton Webern)
26
200612
A Study of the String Quartet II (1977) of Pan Hwang-long
Dr. SUNG Yu-Jen

Assistant Professor
National Chiao-Tung University
Abstract
The aim of this paper is trying to interpret the String Quartet II of Pan Hwang-long,
including his compositional style, technics and ideas; moreover the relation of this work to
the western modern music. Pan composed his String Quartet II in 1977 in Hannover, when he
studied compostion with the modern leading composer Helmut Lachenmann. In this Quartet
Pan was deeply inspired by the compositional technics and idea of Lachenmann, especially his
compositional idea of musique concrte instrumentale and the related concept of structure about
modern musical sonority. This is a work of avande-garde in respect of its technics. The use of
material of sonority is quite new, full of sounds of alienation and noises. This work belongs to one
of the most avande-garde work in Taiwan.
In order to understand more deeply the technics and idea of this work, and its relation to
modern western music, first of all I will briefly introduce the idea of Lachenmanns musique
concrete instrumentale, and his systematic classification of the sound-types of modern western
music and its related concept of musical structure. This ideas of composition have so great
influence on Pan that they become the fondation of his composition afterwards. Moreover, Pan was
also inspired by the concept of musical structure and material of Anton Webern. Therefore, in the
following part of this paper I will explain the relation of this work to the musical idea of Webern.
In the last part I will analyse the detail arrangement of this work in order to understand its whole
form and structure, and its inner logic of Pans refined design of the sound-material. By means of
such kind of analysis, we could understand more clearly the influence of modern western music on
this work, and its perculiar style.
Keywords: Pan Hwang-long, Modern music in Taiwan, Helmut Lachenmann, musiqueconcr te
instrumentale, Anton Webern, String Quartet
27
(1977)
1977 (Hannover) (Zweites

Streichquartett) (Helmut
Lachenmann) 1976-78
(musique concrte instrumentale)
(verfremdeter Klang)
1978 1 26
1
(Frankfurter
Allgemeine Zeitung) (Neue Zeitschrift fr Msuik)
(Anton Webern)
(Helmut Lachenmann)
(Theodor W. Adorno)
(das historisch berholte Alte)

1983 161
Dietmar Polaczek:
Der Unterschied zwischen populr. trivial und provinziell. 20 Jahre neue Musik in Hannover
,
20 , in: Frankfurter Allgemeine Zeitung, 1978 2
2 , 21
: 1983 137-138
28
200612
(Verweigerung von Gewohnheit) 4
(Klangtypen der
neuen Musik) 5
(Klangtypen)
()(musique concrte instrumentale)

(Klangtypen der neuen Musik)
1966 (temA, 1968)
(Notturno, 1966-1968)
(Air, 1968/69)
(Pierre Schaeffer)
(musique concrte)
7

Helmut Lachenmann:Dialektischer Strukturalismus, in: sthetik und Komposition

, ed. by Gianmario Borio and Ulrich Mosch, Mainz 1994, p. 27.
Helmut Lachenmann:Klangtypen der neuen Musik, in: Zeitschrift fr Musiktheorie
, 1970, vol. 1, pp. 20-30.
:
1983 153-163
Ursula Strzbecher:Helmut Lachenmann, in: Werkstattgesprche mit Komponisten( ), ed.
Ursula Strzbecher, Mnchen 1973, p. 120.
(1977)
29
1970 1980
1968
(Kadenzklang) (Farbklang)
(Fluktuationsklang) (Texturklang) (Strukturklang)
(Klang als Proze) (Klang als Zustand)
1.(Kadenzklang)
(Kadenzklang)
(Impulsklang) (Einschwingklang)
(Ausschwingklang)
/ 10
11

(Eigenzeit) - 12
Frank Sielecki: Das Politische in den Kompositionen von Helmut Lachenmann und Nicolaus A. Huber(Helmut
Lachenmann Nicolaus A. Huber ); Saabrcken 2000, p. 42.

Helmut Lachenmann:Klangtypen der neuen Musik, op. cit.
10
11
12
22.

30
200612
13
(Klang als Zustand)

(Farbklang)
(Fluktuationsklang) (Texturklang)
13
: Frank Sielecki: Das Politische in den Kompositionen von Helmut Lachenmann und Nicolaus A. Huber(Helmut
Lachenmann Nicolaus A. Huber ), Saarbrcken 2000, p. 45.
31
(1977)
2.(Farbklang)
14
3.(Fluktuationsklang)
(periodische
wiederholte Vernderung) 15
16
4.(Texturklang)
17
18
5.(Strukturklang)

(Strukturklang) (Klangstruktur)
19
14
Helmut Lachenmann 23.
16
17
25.
18
19
28.
15
32
200612
20
()
21
20
Josefine Helen Horn:Postserielle Mechanismen der Formgenerierung. Zur Entstehung von Helmut Lachenmanns
Notturno ( . Helmut Lachenmann ), in: Musik Text vol. 79, 1999, p.
14.
21
: 1983 158
(1977)
33
(Anton Webern)
(Sechs Bagatellen fr Streichquartett

op. 9, 1913) (uerst langsam) 13 ( )
(unmittelbare
Klang-Erfahrung)
22
1970
(
)
22
Helmut Lachenmann:Hat das Werk Anton Weberns 1970 eine aktuelle Bedeutung? (Anton Webern
1970 ?), in: Helmut Lachenmann. Musik als existenzielle Erfahrung. Schriften 1966-1995 (Helmut
Lachenmann. . 1966-1995 ), ed. by Josef Husler, Wiesbaden 1996, p. 258.
34
200612
[...] :
23
() (Sechs Bagatellen fr
Streichquartett, op. 9)
24
( )
23
24
: 1983 53
(1977)
35
25
(ponticello) (sul
tasto)
A
12
( )
:
( Edgar
Varse 1931 Ionisation ) 1970
(Krzystof Penderecki) (Mauricio Kagel)
25
: 54
36
200612
()
18
( )
( )
26
26
: 1999 10 9
1999 5
37
(1977)
(=76) (=40) (=120)

(=96)
1-48

(Ziffer)
1-3
49-104 4-7
105-155 8-9
156-213 10-12
( )
27
27
Helmut Lachenmann:Hat das Werk Anton Weberns 1970 eine aktuelle Bedeutung? (Anton Webern
1970 ?), in: Helmut Lachenmann. Musik als existenzielle Erfahrung. Schriften 1966-1995 (Helmut
Lachenmann. . 1966-1995 ), ed. by Josef Husler, Wiesbaden 1996, p. 258.
38
200612
()
(1-48 )
( 12 )
:
1.(Flster-Pizzicato)
2.
3.
( + )
(ponticello)
(tremolo)
(1977)
39
1-20
40
200612
10-35
31 32
21-39
(1977)
41
(glissando)
37-39
(37 ) (38 ) (38

) (38 ) 40
(49-104 )
96-99
(mit dem Bogen geschlagen)

13 (49-61 )
13
(Werner Ptz)
28
(legato) c# d#
(2-3 )
(sehr zart) f
28
Werner Ptz: Studien zum Streichquartettschaffen bei Hindemith. Bartok. Schnberg und Webern (Hindemith. Bartok.
Schnberg Webern ), Regensburg 1968, 180.
42
200612
Anton Webern: Sechs Bagatellen fr Streichquartett op. 9 1-8
(am Steg)
3-4
4-5
6 2
(1977)
43
29
(mit
dem Bogen geschlagen)(gepret)
f ( 51
)
(ff)
( 53 )
( 55 )
49-62
29
: 1983 56
(1979/1980)
44
200612
( ppp pp)
( ppp fff)
(sul tasto)
(ponticello)
(72 )
(75-76 )
( 83 )
96-99
(105-155 )
(col legno
battuto) (mit der Stange gestrichen) (col legno saltando)
( 6/23/26/49/4 )
(1977)
45
105-115
126-137
135-136
137 137-138
140
142
147-151 146-147 151-152
46
200612
135-138
156-213

( 166 ) 171
( ) 172-175
( )
(1977)
47
166-174
186-194
30
192-193
11
194-197
(
) 196
31
196
(immer sehr geruschhaft) ( )
( 197 )
( 198 ) ( 206 ) ( 210-212 ) (
210-211 )
30
31
(1977) 2
48
200612
( 197-198 198-201 )
196-213
(1977)
49
:1983
---
1983 153-163
---1995 12
117-136
---1999
10 9 1999 5
2005
Josefine Helen Horn:Postserielle Mechanismen der Formgenerierung. Zur Entstehung von

Helmut Lachenmanns Notturno ( . Helmut Lachenmann
), in: Musik Text vol. 79, 1999, pp.14-25.
Helmut Lachenmann:Klangtypen der neuen Musik, in: Zeitschrift fr
Musiktheorie, 1970, vol. 1, pp. 20-30.
50
200612
---:Dialektischer Strukturalismus , in: sthetik und Komposition

, ed.by Gianmario Borio and Ulrich Mosch, Mainz 1994, pp. 23-32.
---:Hat das Werk Anton Weberns 1970 eine aktuelle Bedeutung? (Anton Webern
1970 ?), in: Helmut Lachenmann. Musik als existenzielle Erfahrung.
Schriften 1966-1995 (Helmut Lachenmann. . 1966-1995 ),
ed. by Josef Husler, Wiesbaden 1996, p. 258.
Dietmar Polaczek:Der Unterschied zwischen populr. trivial und provinziell. 20 Jahre neue
Musik in Hannover, 20 , in:
Frankfurter Allgemeine Zeitung, 1978 2 2 , p.21.
Werner Ptz: Studien zum Streichquartettschaffen bei Hindemith. Bartok. Schnberg und Webern
(Hindemith. Bartok. Schnberg Webern ), Regensburg 1968.
Frank Sielecki: Das Politische in den Kompositionen von Helmut Lachenmann und Nicolaus A.
Huber(Helmut Lachenmann Nicolaus A. Huber ), Saabrcken
2000.
Ursula Strzbecher:Helmut Lachenmann, in: Werkstattgesprche mit Komponisten(
), ed. by Ursula Strzbecher, Mnchen 1973.
55176

ISSN 1814-1889
51
1977 (1930-1996) 1973-79

A flock descends into the pentagonal garden

1980 1991
(1951-) IIPome lyrique II
1075 1750
la trinit
II
52
200612
The Return and Omnipresence of Pentatonicism

- Ancient tones and modern echoes in the works of Tru Takemitsu and
Qigang Chen
Dr. LIEN Hsien-Sheng

Postdoctoral fellowship
Institute of Taiwan History,
Academia Sinica
Abstract
In 1977, Tru Takemitsu (1930-1996) created A flock descends into the pentagonal garden.
In this work, the composer revealed his will of returning to pentatonicism, the influence of the
Japanese shs harmonic structure and the temporal idea of the emakimono. In 1991, Qigang Chen
(1951-) composed Pome Lyrique II, in which he combined three cultural elements with the idea
of trinity: an eleventh century lyric poem of Su Shi (1075), a particular way of singing which
combines eighteenth century Italian bel canto and the declamation of Peking opera (1750), the
pingtan of Suchou, plus a twentieth century instrumental ensemble of the western style. In the
work of Chen, the successful synthesis of pentatonicism with the dodecaphonic technique and the
modern harmony of the French school presented by Debussy and Messiaen makes an excellent
echo to that of Takemitsu.
In the beginning of this article, the author reviews the history concerning the ambivalence of
pentatonicism by several generations of Asian composers. After studying the works of Takemitsu
and Chen, the author tries to differentiate the methods of the two composers in using the pentatonic
materials and indicate how they link their own cultural lyric traditions with Western modernity in
todays postmodern atmosphere.
Keywords: Tru Takemitsu, Qigang Chen, Luo Zhongrong, pentatonicism, contemporary Asian
music, modernity, postmodern
53
1977 1973-79
1980 1991
IIPome lyrique II
1075 1750
la trinit
II
()
23
4 (1886-1965)
( 1926) (1893-1945) ( 1919)

1999
(1851-1917)(
) (1895-1897)
( 2005) 18-21
21
54
200612
(F ) F
3 9-10
( )5 E
by ONGAKU NO TOMO
(1903-1977)
(1906-1991)
1935 6

200
( 1986) 30
2006
55
(
) 7
(1900-1981) (1907-2001) (1914-2005) (1914-1955)
8
(1933) (1935
)
9
10
(1929-) (1929-)
11
(1933-) (1984)
(1930-1996) (1929-)
(
)12
1980
(1955-) (1953-) 13
(1953-) (1953-)
(Tokyo, KING RECORDS, KICC 354-6, 1969, 2001 )

( 1957) 1988

1935
1926-1945 20 ( 1999)
22-311989 3 18-27
(Alexandre Nicolaevitch Tcherepnine1899-1977)
(1935)

Joaquim M. Benitez and J Kond, Serialism in a Japanese Context: A
Conversation with Matsudaira Yoritsune, in Contemporary Music Review, 1998, Vol. 17, Part4, p.87-96.
10
1930
18 1
1998 335-346
11
(1965) (1978)
12
Jji Yuasa, Music as
a Reflection of a Composers Cosmology, in Perspectives of New Music, 27/2, 1989, p. 176-197
(1980-1989)
13
Ensemble Itinraire
56
200612
14
(1917-1995)
Piri
(1971)
15
()
(
16) (John P. Ordway
1824-1880) Dream of Home and Mother
( E )
17
(1926) (
E E )18
(1932)
1934
1949
19 (1924-)
(1962-1963)20
21
(1911-1992)
(1939)
14
2003 9
( ) YOSHIMATSU, Threnody to Toki,
for string orchestra & piano, Miniature Score, ( 2002) iii-vii
15
4 2006 6 1-26
16
( 2001) 21-2451-57
17
236-23914-16
18
(1927 )
( 1987) 258-264
19
( 2003)
20
1993
3 24-34
21
Mong Dong(1984)
(1982)
57
22
(1916-)
23
24
(1962)
25
1980
26
(1957)
( ) 27
28
()
29
22
30
Romance(
35 127-180
23
24
(1968-72)(1983)
25
(
1999) 224-225
26
(1991) (2000)
27
1965
28
Kenneth Kwan, Chou Wen-chungs modal system :the Basics
2003 34-40
29
( Riburoport1987) 31
30
D-Eb-G-A-C-D D-Bb-A-G-Eb-D
58
200612
1949)31 32
1951
33
1966
(November Steps1967)
Koussevitzky ( The Dorian
Horizon) 1960 34
( sul ponticello )
35
(George Russell1923-)
The Lydian Chromatic Concept of Tonal Organization
Dorian (
A-B-A A A )
F C B F A ( ~1)
A( ) B( ) E(
) ( ~2) 14 E 72
B (73-107 )
31
Romance 1998 2000 Schott Japan Company Ltd.

Peter Burt, The Music of Toru Takemitsu (London, Cambridge University Press, 2001, pp.
26-29( 2005) 8-11
32
(Federico Mompou1893-1987) Romance
( 2000) 301
33
(1933-)
( 1975)
71-73( )( 1984) 139-160
303
34

36-50
(Urbilder1980)
35
( ) TAKEMITSU, The Dorian Horizon, Miniature
Score, ( 2000) 2-7
59
E Dorian
( ) Dorian
( )
( )
36
by ONGAKU NO TOMO
36
Dorian (Ritsu) Dorian

G D ( )
60
200612
( )
Dorian
(Harmonic Pitches) (Echoes)
37
38
()
1977 1973-79
(Far
call. Coming, far! 1980)
39
40
( )
42
41
1987
37

25-27
E
39
129
40
6-8
41
42
29
38
61
( )
Musique : Tru TAKEMITSU by SALABERT
62
200612
Steven Nuss
( )
43
( )
44
()
( )
45
1979
( ) 46
47
Steven Nuss, Takemitsu and the cry of the phoenix, in Hugh de Ferranti and Yko Narazaki (ed.), A Way a Lone
Writings on Tru Takemitsu, Tky, Academia Music Limited, 2002, p. 83-124. G D
44
27 34-35
45
(Unterweisung im Tonsatz) 1983
2002
46
(Dream/Window1985)
47
( 1996) 590-610
43
48
63
(1959-1993)
48
( 2001)
78-901986
3 7-16
64
200612
( )1. E
E AD
2.
49
()
1.
1984 (1985)(1986)
(1988)
(Souvenir)
C B G 1/4 F
( )
( )
49
(
2004) 545-570(
2005)
65
( )50
51
(Yi1986)
52
( )
53
)( )
A (
B) A ( G )
(mode of attack) ( )
50
Grard Billaudot 1985
52
2001 4 1
53
( 2003) 83-110
51
66
200612
Grard Billaudot Editeur SA, Paris.

Reproduit avec l'aimable autorisation de l'diteur.
1987 (Voyage dun rve
)
54
(B C
B )
( ) 25-26
( )
54
Gilles Deleuze (et Claire Parnet), De la supriorit de la littrature anglaise-amricaine , in Gilles Deleuze et Claire
Parnet, Dialogues (Editions de la Diffrence, 1977), Paris, Flammarion, 1996, p. 45-91.
67
( 25 )
[ (Vibraphone) ]
55
[ ]
56
2.57
1990 1991 (Pome Lyrique)
1076 (
) 1750
58 Trinit
59 60
55
Gyrgy Ligeti (1923-2006)
57
1990 1991
II
58
Roger Texier, Trinit , in Les Notions Philosophiques, tome II, Encyclopdie Philosophique Universelle, Paris, Presses
Universitaires de France, 1990, p. 2652.
59
Michel Foucault, Quest-ce que les Lumires ? (1984), in Dits et crits III, Paris, Gallimard, 1994, p.569
Michel Foucault, Philosophie, anthologie tablie et prsente par Arnold I. Davidson et Frdric Gros, Paris, Gallimard,
2004, p. 868 1(
1988) 13-35
60
11 (
2006 12 ) 63-85
56
68
200612
BF(
)
( )
( ) 11
G AB C
E D F (
)
B ( BCDFG) B (B C D F G)
11

69
70
200612
35-38 Grard Billaudot

Editeur SA, Paris. Reproduit avec l'aimable autorisation de l'diteur.

61
Sprechgesang 35-38
83-120
F ( )
A C E G (C )
62
20-24
( G G A A )
61
( 2000) 331-357
62
(Lomniprsence)
(La trinit)
71
(Un Ptale de Lumire

1993)
(Reflet dun temps disparu1995-1996) (Extase
1995-1997)
(Wu Xing1999)
( ) C
CEG BD( C )
(GEDC) (EDC B)
63

64
63
2000 (Instant dun Opra de Pkin

2000)
64
( 2002) 56-59
72
200612
65
(1991)
66
67

68
( ) Romance
69
1980
70
Pierre Boulez, Eventuellement (1952), in Relevs dapprenti, Paris, Seuil, 1966, p. 147-182
(Dream/Window1985) ( 44)
66
Raymond Court, La faillite de la reprsentation et lesprit de la musique moderne , in LUnivers Philosophique,
Encyclopdie Philosophique Universelle, Paris, Presses Universitaires de France, 1989, p. 635-642.
67
( 1980) 13-18
68
( 1987)
176-221
69
Romance
70
1991
Cassiopeia( )
) Polyphone, vol. 8, Tky, 1991

( 1999), 117-129
65
73
71
72
73
71
(
1997)
http://www.chenqigang.com/chenqigang/FE/
72
2000 179-220
73
BoulezXenakisStockhausen
74
200612
1926-1945 20 (
1999) 13-31
200 ( 1986)
( 2002) 56-59
35
127-180
( )( 1997)
( )( 1984)

( 1975) 71-73
( Riburoport1987)
( 1980) 13-18
18 1 1998
335-346
( ) Yoshimatsu, Threnody to Toki,
for string orchestra & piano, Miniature Score ( 2002) iii-vii
(Tokyo, KING RECORDS,
KICC 354-6, 1969, 2001 )
(
2003) 83-110
1986
3 7-16

( 2000)
36-50

( 2006)
63-85
(
75
1999) 224-225
( 2000) 331-357
( Polyphone, vol. 8, Tky, 1991)

( 1999) 117-129
1989 3
18-27
( 2005)
( 1987)
(1927 )
( 1987) 258-264
( 1996) 590-610
( 2001)
( 2003)
( 2000) 294-318
( 2005)
( 2001)
2000 179-220
4 2006 6 1-26
76
200612
Benitez, Joaquim M., and J Kond, Serialism in a Japanese Context: A Conversation with
Matsudaira Yoritsune, in Contemporary Music Review, 1998, Vol. 17, Part 4, pp. 87-96.
Boulez, Pierre, Eventuellement (1952), in Relevs dapprenti, Paris, Seuil, 1966,p.147-182.
Burt, Peter, The Music of Toru Takemitsu, London, Cambridge University Press, 2001.
Court, Raymond, La faillite de la reprsentation et lesprit de la musique moderne , in
LUnivers Philosophique, Encyclopdie Philosophique Universelle, Paris, Presses
Universitaires de France, 1989, p. 635-642.
Deleuze, Gilles (et Parnet, Claire), De la supriorit de la littrature anglaise-amricaine
, in Gilles Deleuze et Claire Parnet, Dialogues (Editions de la Diffrence, 1977), Paris,
Flammarion, 1996, p. 45-91.
Foucault, Michel, Quest-ce que les Lumires ? (1984), in Dits et crits III, Paris, Gallimard,
1994, pp.562-578 Michel Foucault, Philosophie, anthologie tablie et prsente
par Arnold I. Davidson et Frdric Gros, Paris, Gallimard, 2004, pp. 857-881
1(
1988) 13-35
Kwan, Kenneth, Chou Wen-chungs modal system :the Basics
2003
34-40
Nuss, Steven, Takemitsu and the cry of the phoenix, in Hugh de Ferranti and Yko Narazaki
(ed.), A Way a Lone Writings on Tru Takemitsu, Tky, Academia Music Limited, 2002,
p. 83-124.
Texier, Roger, Trinit , in Les Notions Philosophiques, tome II, Encyclopdie Philosophique
Universelle, Paris, Presses Universitaires de France, 1990, p. 2652.
Yuasa, Jji, Music as a Reflection of a Composers Cosmology, in Perspectives of New Music,
27/2, 1989, pp. 176-197.
577104

ISSN 1814-1889
77
C. OrffDer Mond
Carl Orff1895 ~ 1982
Der MondDie
Gebrder GrimmeKinder- und Hausmrchen
Der Mond
Orff
78
200612
Research on C. Orff s Musical Language of Mrchenoper

Der Mond
LIANG Hsiao-Ling
Graduate Student
Taipei National University of the Arts
Abstract
Carl Orff (1895 ~ 1982) spent most of his life composing dramatic music. Orff frequently
selected Bavarian folklore, myths of ancient Greek and Rome, legends and fairy tales of medieval
Germany and France as materials for his compositions. The plot of his MrchenoperDer Mond
is chosen from the GrimmsKinder- und Hausmrchen. This research paper will examine the
libretto, scenery, and character arrangement of the piece. Orffs specific musical language detailing
the aspects of rhythm, melody, form and instrumentation will be commented on.
Keywords: Carl Orff, opera, the Grimms fairy tales, Der Mond
C. OrffDer Mond
79
Carl Orff1895 ~ 1982

Akademie der Tonkunst
191214 Mannheim Darmstadt
1925 Dorothee Gnther
GntherSchuleOrff
Schulwerk
Orff
Orff 1923 Monteverdi Orpheus
1923-24Klage der AriadneAriadne 1925 Tanz der Sprden
1925Orff
1930 ~ 1933 the Bach Society in Munich
Catulli Carmina I and II(193031)
Carmina Burana Orff Carmina
Burana
Orff

Orff
music for the stageDer MondDie Kluge
Der Mond
Der Mond
Orff
E. Helm, 1955, p.286.
80
200612
Der Mond
()
1939 2 5
Mnchen Staatsoper
Der Mond Orff Die Gebrder Grimme2
3Kinder- und Hausmrchen Der Mond
Orff
Orff
4 Der
Mond
Der Mond
Orff

5
()
1.
Erzhlervier
Burschen
Der SchultheiTaler

Jacob Grimm, 1785~1863Wilhelm Grimm, 1786~1859
M. StegemannCD 1998 9
E. Levi, Der Mond, in the New Grove Dictionary of Opera, 1992.
C. OrffDer Mond
81
Petrus
Ach, da hngt ja der Mond!

2.
Orff
6

Orff Ein
SchultheiEin Wirtdie Bauern
vier BurschenEin kleines Kind
PetrusOrff
Orff
Orff
8
Orff
Orff Pertus

Wir wollen nimmer in den Srgen liegen, wir wollen wieder uns
vergngen, wir wollen saufen, huren, zechen, und wenns mglich eine Ehe brechen. Und dies treiben bis zum End auch
das Mondlicht nimmer brennt.
Jean C. Sloop,Der Mond,in the International Dictionary of Opera, 1993, p. 887.
C. Orff1947
82
200612
Pertus 10
Saint Peter
romantische Oper11
Orff
Ober- und
UnterweltHimmelHlle12
()
Orff

Orff Der Mond13
10
Ibid.
romantische Oper
1994 92~93
12
9
13
W. Thomas1994 13
11
C. OrffDer Mond
83
1939 Bayerische Staatsoper Mnchen

14
Orff
eine Simultanbhne15
16 Orff
925 1250
Aedes
platea playne
17
14
K. Pahlen1981 244
C. Orff1947
16
17
1974 147 ~ 151
15
84
200612
18
Der Mond
theatrum mundi
19 Orff Der Mond
Ein kleines WelttheaterOrff

()
1932 Orff Heinrich Schtz1585~1672 Auferstehungshistoria
20 LukaspassionOrff
Der Mond21 Erzhler
syllabic

plainchant 22
E psalmodyreciting note 1
18
1974 149
J. A. Simpson and E. S. C. Weiner ed., theatrum mundi in the Oxford English Dictionary, 1989.
20
J.S. Bach (BWV246)
21
Jean C. Sloop,Der Mond, in the International Dictionary of Opera, 1993, p. 887.
22
C. Orff1947
19
C. OrffDer Mond
85
1 1
65 75~76 2
66 ~ 68
2 75~76
3
23
23
86
200612
3 57
()
Der Schulthei
vier BurschenOrff
24
1.
(1)
31~38
54
(2)
39~40
47
24
C. Orff, 1947, .
C. OrffDer Mond
87
antiphonal style
69 72~74
(3)
85 Orff Chor der
Toten die Sufer
Soprano AltoTenor Bassdie Mnnerdie Weiber
2.
Orff
Orff 25 Orff

Orff
Orff
72 ~ 74
Orff
26
25
1974 106~107
26
Alle, die wir ringsum stehn, alle knnen wir ihn sehn, nur er selber sieht uns nicht, weil sein Augim Tode
bricht. Wenn das Leben uns entschwindet, fngt der Tod von selber an. Jeder einmal drein sich findet, weil er es nicht
ndern kann. Wie der Wein durch unsren Kehle, rinnt die Zeit uns durchs Gebein. Was ein jeder auch erwhle, einmal
graben wir ihn ein. Oh!
88
200612

116 ~ 117 Orff 27
28
Orff R. Wagner Musikdrama
Singspiel29
()
Orff
Jean C. Sloop,Der Mond, in the International Dictionary of Opera, 1993, p. 887.

Alles ist so wie im Leben, keinem wird Pardon gegeben, jeder spielt sein falsches Spiel, keiner kommt
damit zum Ziel! Weil die Schaukel dieser Welt nimmer mehr die Wage hlt. Fhrt der eine darauf nieder, hebt es schon
den andern wieder, und der Preller wird geprellt, und verliert sein Gut und Geld.
29
opra comiqueKomische
Oper1994 94~95
27
28
C. OrffDer Mond
89
4 3 ~ 4
3139101
40 ~ 50 strophic form
75 ~ 77 137 ~ 140
Orff

90
200612
through-composed form 4 3 ~ 4
Orff
30
Orff
5
5 101

31
sf
Orff
30
31
E. Helm, 1955, p.296.

Ibid., p.297.
C. OrffDer Mond
91
()
Singspiel
Orff
32
1.
Orff gesprochen

ostinato 78 6
126 ~ 127 7
6 78
32
Jean C. Sloop, Orff, Carl, in the International Dictionary of Opera, 1993, p. 964.
92
200612
7 126 ~ 127
2.
Orff

Orff Gesamtkunstwerk33
melodrama34
35 114 ~ 120
8 39 ~ 4045496986 ~ 88124 ~
126128133151
33
M. StegemannCD 1998 10 Orff Gesamtkunstwerk

Wagner Wagner Wagner
Gesamtkunstwerk
D. J. Grout & C. V. Palisca1996 645
34
1994 90
35
D. J. Grout & C. V. Palisca, 1996, p.640.
C. OrffDer Mond
93
8 114 ~ 115
ostinato
Orff
Orff
ostinato
counter-rhythms36
Orff
37
Der Mond
36
37
E. Helm, 1955, p.287.

Ibid.
94
200612
57 ~ 5864 ~ 65
25 ~ 3152 ~ 53133 ~ 136

Zwiefacher
9
Orff Kurt Huber
Orff ZwiefacherDer Mond
38
9 20 ~21
Orff
10
38
A. Fassone, Orff, Carl, in the New Grove Dictionary of Music and Musicians, 2001.
C. OrffDer Mond
95
10 32

Orff simplification
39
Orff
8 11
39
E. Helm, 1955, p.287.
96
200612

40
Orff
unison 11
Orff
11 8 ~ 9
40
der BauerUnser Schulthei ihn fr drei Taler gekauft und an dem Eichbaum befestigt.
vier BurschenFr drei Taler, fr drei Taler, fr drei Taler.
C. OrffDer Mond
97
Orff psalmody
1.
responsorial
138 ~ 140 12
12 138 ~ 140
2.
antiphonal
47 ~ 50 13

98
200612
13 47 ~ 50
28
14
99
C. OrffDer Mond
a a b b a a b b
14 28 ~ 29
32 ~
33 15Orff
21
Orff
15 32 ~ 33
100
200612

Orff Der Mond
Rhrtrommel
verschiedene Beckengr. TamtamRatsche
RuteSchlittenschellenE UhrenglockeRhrenglocken
GlserspielGlockenspielMetallophon
1925 Orff Dorothee Gnther
Dorothee Gnther Schule
Schulwerk, 1930 ~ 1933
Orff
Orff
122 ~ 125Orff
Orff
an orchestra within an orchestra4142
41
42
Jean C. Sloop, Der Mond, in the International Dictionary of Opera, 1993, p. 887.
E. Helm, 1955, p.291.
C. OrffDer Mond
101
Orff
1940
Orff
Orff
102
200612
( )
Bauman, Thomas,Singspiel, in The New Grove Dictionary of Opera. Stanly Sadie ed., second
ed., London: Oxford University Press, 1992.
Branscombe, Peter, Melodrama, in The New Grove Dictionary of Music and Musicians. Stanly
Sadie ed., second ed., New York: Oxford University Press, 2001.
Ewen, David, Orff Carl, in The Composers Since 1900, p. 394 ~ 398. New York: H. W. Wilson
Co., 1981
Fassone, Alberto, Orff, Carl, in The New Grove Dictionary of Music and Musicians. Stanly
Sadie ed., second ed., New York: Oxford University Press, 2001.
Levi, Erik, Der Mond, in The New Grove Dictionary of Opera. Stanly Sadie ed., second ed.,
London: Oxford University Press, 1992.
Levi, Erik, Orff, Carl, in The New Grove Dictionary of Opera. Stanly Sadie ed., second ed.,
London: Oxford University Press, 1992.
Millington, Barry, Gesamtkunstwerk, in The New Grove Dictionary of Music and Musicians.
Stanly Sadie ed., second ed., New York: Oxford University Press, 2001.
Rsch, Thomas, Orff, Carl, in Die Musik in Geschichte und Gegenwart - Personenteil, Bd. 12 ,
p. 1397 ~ 1409, Stuttgart: Brenreiter-Verlag, 2004.
Simpson, J. A., and E. S. C. Weiner, ed., theatrum mundi , in The Oxford English Dictionary.
second ed., Oxford: Oxford University Press, 1989.
Sloop, Jean C., Der Mond, in The International Dictionary of Opera. C. Steven Larue ed., p.
886 ~ 887, Detroit: St.James Press, 1993
Sloop, Jean C., Orff, Carl, in The International Dictionary of Opera. C. Steven Larue ed., p.
963 ~ 965, Detroit: St.James Press, 1993
( )
Helm, Everett, Carl Orff, from The Musical Quarterly, Vol. 41, No. 3, July 1955, pp. 285 ~ 304.
Grout, Donald Jay, and Claude V. Palisca, a History of Western Music, 5th edition. New York: W.
W. Norton & Company, 1996.
Pahlen, Kurt, Carl Orff: Der Mond, Die Kluge. Mainz: Schott, 1981.
Stegemann, Michael, Der Mond, in Orff: Die Kluge & Der Mond. EMI: 7 63712 2, 1998, p. 19 ~
21.
C. OrffDer Mond
103
Thoman, Werner, Orffs Mrchenstcke: Der Mond, Die Kluge. Mainz: Schott, 1994.
( )
O. G. Brockett
2001[
90]

23 ~ 281994 12
59 ~
671995 12
2002 [
91]
Roger Kamien, Music: an Appreciation,7th edition.
2001[ 90]
1995[ 84]
79 ~ 1031994[ 83]
1996[ 85].
2000[ 89]
1999[ 88]
Orff, Carl, Der Mond: Ein kleines Welttheater. London: Schott & Co. Ltd., ED 6481, 1947.
Sawallisch, Wolfgang, Orff: Die Kluge & Der Mond. EMI: 7 63712 2, 1998.
104
200612
5105122

ISSN 1814-1889
105
Hanslick
WagnerLiszt
Hanslick
106
200612
The Aesthetic Development of Absolute Music in 19th Century

A Dialectic Discussion with Program Music
Dr. SHYU Mei-Ling

Assistant Professor
Fu-Jen Catholic University
Abstract
Eduard Hanslick, whose name is synonymous for absolute music of nineteenth centurys classical
music, gained inspiration from literary romanticists and established his concept for absolute music,
which he developed into a definitive music form. Hanslick also challenged Richard Wagner,
Franz Liszt and other advocates of program music. Absolute music emphasizes the autonomy
of music; while program music, in its way of expressing music, places the importance of nonmusical elements above music itself. Both parties insisted on their own theory and initiated
on - going debates about the aesthetics of music throughout the nineteenth century. What is the
musical dialectic between these two different ideas of musical aesthetics? This paper tries to
solve the above issue by handling the following topics: discussing the formation of the concept of
absolute music in detail, surveying the development of musical practice, and exploring the concept
of program music. By doing so, this research aims to clarify the different viewpoints in absolute
music and program music, and consequently, a review of the development of European classical
music in 19th Century could also be brought forth.
Keywords: absolute music, program music, form, content, Hanslick
107
Eduard Hanslick (1825 - 1904) 1

Richard Wagner (1813 - 1883) Robert
Schumann (1810 - 1856) 3040
Wagner
Hanslick Hanslick Wagner
Wagner
Hanslick
(absolute Musik) 2
108
200612
(Genre)
(Domenico Scarlatti1685 - 1757) 555
Sonata 3

Wagner 1846 4 Johann
Wolfgang von Goethe (1749 - 1832)(Faust1808) Wagner
(im unendlichen und unentschiedenen Ausdruck)
5
Wagner (Kunstwerk der Zukunft1849)
(Oper und Drama1850 - 1851)6
(Gesamtkunstwerk)
Hanslick 1854
(Vom Musikalisch-Schnen: Ein Beitrag zur Revision der sthetik der Tonkunst) Wagner
Hanslick
Christoph Martin Wieland (1733 - 1813)Goethe
Friedrich Schiller (1759 - 1805) Johann Gottfried
Herder (1744 - 1803) 8 Kalligone (1800)

D. Scarlatti Ralpf Kirkpatrik (1911 - 1984) Alessandro Longo (1864 - 1945)
1846 3 5 Wagner 4 5
Zwinger Martin Gregor-Dellin (1983).
Wagner-Chronik: Daten zu Leben und Werk, pp. 40 42.
Wagner Bericht ber die Auffhrung der neunten Symphonie von Beethoven im Jahr
1846 in Dresden (aus meinen Lebenserinnerungen ausgezogen) nebst Programm dazu Sven Friedrich
(ed., 2005). Richard WagnerWerke, Schriften und Briefe. Digitale Bibliothek. Richard Wagner. Smtliche
Schriften und Dichtungen, Bd. II, p. 61.
Wagner Richard WagnerWerke, Schriften und Briefe
Hanslick Absolute Tonkunst Musik Eduard
Hanslick (1989). Von Musikalischen Schnen, p. 34.
Herder (Sturm und Drang)
1778 1779 Volkslieder nebst
untermischten anderen Stcken 1897 Stimmen der Vlker in Liedern
109
Herder
Schiller
1794 (ber Matthisons Gedichte)
10 Gottfried Krner (1756 - 1831)
11
(1795
3 10 )
12
Jean Paul (1763 - 1825) 13 (Die

unsichtbare Loge1793)
( )
14
(Flegeljahre1803) Walt Vult

Vult 15

Paul
Wilhelm Heinrich Wackenroder (1773 1798)
Herder Kalligone Felix M. Gatz (ed., 1929). Musik-sthetik in ihren Hauptrichtungen, p. 297.
Paul Moos (1922). Die Philosophie der Musik, p. 19.
11
(Freimaurer) Krner Schiller (1812 - 1816)
Schiller Krner (Dresden) Ode an die Freude ( 1785)
12
Paul Moos (1922). Die Philosophie der Musik, pp. 19-20.
13
Jean Paul Johann Paul Friedrich Richter Jean-Jacques Rousseau Jean Paul
14
Die unsichtbare Loge Felix M. Gatz (ed., 1929). Musik-sthetik in ihren Hauptrichtungen, p. 331.
15
Jean Paul (1964). Flegeljahre, p. 218.

10
110
200612
16 Ludwig Tieck (1773 1853)

Wackenroder (Symphonien)
17
E. T. A. Hoffmann (1776 1822)
18
Ludwig van Beethoven

(1770 - 1826) 19
20
Hoffmann
Hoffmann 21

Hoffmann 22
Hoffmann Beethoven
16
Wackenroder Tieck
(Phantasien ber die Kunst, fr Freunde der Kunst1799)
(Die Wunder der Tonkunst) Wolfgang Nehring (ed., 1973). Wilhelm Heinrich Wackenroder und Ludwig Tieck:
Phantasien ber die Kunst, p. 64.
17
Ibid., pp. 108 110.
18
Hoffmann Ernst Theodor Wilhelm Hoffmann 1805 (Die lustigen
Musikanten) E. T. A. Hoffmann A. Amadeus Amadeus Mozart
(1756 - 1791)
19
Hoffmann Beethoven (Kreisleriana)
(Beethovens Instrumentalmusik) 1810 7 411 (Allgemeine
Musikalische Zeitung) Beethoven
20
Barbara Naumann (ed., 1994). Die Sehnsucht der Sprache nach der Musik, p. 227. Hoffmann
David Charlton (ed., 1989). E. T. A. Hoffmanns Musical Writings: Kreisleriana, The Poet and the Composer, Music
Criticism
21
Ibid.
22
Ibid., 228.
111
(unendliche Sehnsucht) 23 Wagner
Hanslick
Hanslick
Hanslick
Vclav Jan Krititel Tomsek (1774 - 1850)
1845 Marienbad Wagner
Wagner 1846 (Wiener Zeitung)
1861 Hanslick
24
25 Wagner
Hanslick Wagner
50
1854 Franz Liszt (1811 - 1886) (Tasso) 26
(sinfonische Dichtung) Louis-Hector Berlioz (1803 - 1869)
(Symphonie fantastique1830) Wagner
(Der Ring des Nibelungen) (Das Rheingold)

(number opera)(Musikdrama)
Felix Mendelssohn (1809 - 1847)
1854 Robert Schumann (1810 1856)
Johannes Brahms (1833 1897) Schumann 27
29 Hanslick
Wagner
23
Beethoven (Kreisleriana)
(Beethovens Instrumentalmusik)
24
Hanslick
Breitkopf & Hrtel 1989 21
25
Hanslick
26
Tasso Liszt 1854 4 19 (Weimar)
27
Schumann 1853 10 (Neue Zeitschrift fr Musik) (Neue Bahnen)
Brahms
112
200612
Chr. F. Daniel Schubart (1739

- 1791)(Der Schne ist Ausdruck, und Ausdruck
istHerzensergu) 28
Hanslick
(Die Gefhlssthetik)
1854
(Unwissenschaftlicher Standpunkt der bisherigen musikalischen Aesthetik )
(Die Gefhl sind nicht Zweck der Musik) 29
30
Schumann
31
(DieDarstellung von Gefhlenist nicht Inhalt
der Musik)
32
33
(Das Musikalisch-Schne) Hanslick

( )(ein spezifisch Musikalisches) 34
Chr. F. Daniel Schubart (1924). Ideen zu einer sthetik der Tonkunst, p. 7f Carl Dahlhaus (1967).
Eduard Hanslick und der musikalische Formbegriff. Die Musikforschung, Nr. 2, p. 145.
29
Eduard Hanslick : Vom Musikalisch Schnen (Leipzig 1/1854) http://www.koelnklavier.de/quellen/hanslick/
_start.html (2006.09.04).
30
Hanslick 22 Johann Mattheson
(1681 - 1764) Wagner Eduard
Hanslick (1989). Von Musikalischen Schnen: Ein Beitrag zur Revision der sthetik der Tonkunst, pp. 1, 15 19.
31
Ibid., p. 3.
32
Ibid., p. 26.
33
Hanslick (Christoph Willibald Gluck1714 - 1787 ) Orfeo ed Euridice Orfeo
Che faro senza Euridice( Euridice ) Orfeo (JeanJacques Rousseau1712 1778) Boy Jai trouv
mon Euridice, Rien negale mon bonheur( Euridice )
Ibid., pp. 37 38.
34
Ibid., p. 58.
28
113
(musikalische Idee)
Hanslick
(Der Inhalt der Musik sind tnend bewegte
Formen)
35
(Analyse des subjektiven Eindruckes der Musik)

Hanslick Hanslick
Hanslick
vs. (Das sthetische Aufnehmen der Musik

gegenber dem pathologischen) Hanslick
(Tonstck um seiner selbst

willen) 36
(Die Beziehungen der Tonkunst zur Natur)
Hanslick
(kommensurabel) 37
(Die BegriffeInhaltundFormin der
Musik) Hanslick
(Thema)
Hanslick (Inhalt)
35
Ibid., p. 59.
Ibid., p. 136.
37
Ibid., p. 150.
36
114
200612
(Gefhl)Hanslick
38Hanslick
Liszt Wagner (Tristan und
Isolde) (unendliche Melodie)
39
Franz Joseph
Haydn (1732 - 1809)Mozart Beethoven
Hanslick
Brahms Beethoven
Hans von Blow (1830 - 1894) Beethoven
40 1862 1876 10 10
Brahms Wagner
Brahms 11 4
Karlsruhe 41
August Halm (1869 - 1929)
42
Anton Bruckner (1824 - 1896) (Romantische

43
1874)
1868 (Die
Meistersinger von Nrnberg) Wagner
Liszt (Neudeutsche Schule)

38
Ibid., pp. 96 98.

Ibid., vii.
40
Attila Csampai, Dietmar Holland (ed., 1990). Der Konzertfhrer, p. 505.
41
Wikipedia (2006).Johannes Brahms,http://de.wikipedia.org/wiki/Johannes_Brahms#Orchesterwerke (Accessed
2006.09.25)
42
Halm Hanslick
43
Halm Bruckner Die Symphonie Anton Bruckners
Wilhelm Seidel (1994).Absolute Musik.Die
Musik in Geschichte und Gegenwart. Ed Ludwig Finscher, Sachteil, Vol. 1, 22.
39
115
Modest Mussorgsky (1839 - 1881) (1874) Bedich Smetana

(1824 - 1884) (M vlast1872 - 1880) Camille Saint-Sans (1835 1921) (Danse macabre1874)
Hanslick
Robert von Zimmermann (1824 - 1898) (1861 )
Hanslick
(Vom Musikalisch-Schnen) 44 Hanslick
Hanslick Zimmermann Hanslick
(Idee) (das Erhabenen)

(Begriff)
Zimmermann
(der Geist der
Musik)
Ottokar Hostinsky (1847 - 1910) (1877 )
Hanslick Wagern 1877

(Das Musikalisch-Schne und das Gesamtkunstwerk vom Standpunkte der
formalen sthetik) 45
Hanslick ( )
Hostinsky (spezifische Schnheit) 46
(Musikalisch-Schne)Hanslick
(Gefhl) (Empfindung)
47 Hostinsky (Gefhl)
(Vorstellungsinhalt)(Stimmung) 48
Zimmermann sterreichische Bltter fr Literatur und Kunst1854 11
Felix M. Gatz (ed., 1929). Musik-sthetik in ihren Hauptrichtungen, pp. 427 437.
45
Felix M. Gatz (ed., 1929). Musik-sthetik in ihren Hauptrichtungen, pp. 463 482.
46
Ibid., p. 463.
47
Eduard Hanslick (1989). Von Musikalischen Schnen, p. 6.
48
Felix M. Gatz (ed., 1929). Musik-sthetik in ihren Hauptrichtungen, p. 464.
44
116
200612
Hostinky
(Wirkung)
49
(Stimmung)
(Dynamik)
Hostinky
Hanslick
Hanslick
Hanslick
(Musik als Form) (Musik als

Ausdruck) (Formsthetik) (Gefhlsthetik)
(Autonomiesthetik) (Heteronomiesthetik)
Hans Heinrich Eggebrecht (1919 - 1999)
50
Beethoven 51
49
Ibid., p. 470.
Autonomiesthetik Heteronomiesthetik Gatz
Felix M. Gatz (ed., 1929). Musik-sthetik in ihren Hauptrichtungen.
51
Eggebrecht Beethoven 1830 Beethoven
Beethoven Adolf Bernhard Marx
(Lehre von der musikalischen Komposition)Hans Heinrich Eggebrecht (2004). Musik im
Abendland, p. 664.
50
117
(Nachahmungssthetik)
(Tonmalerei) ( )
( )
Antonio Vivaldi (1678 - 1741) 1725
(Le quattro stagioni, op. 8)
(imitatio naturae)
52
Beethoven 1808 (Pastorale)
( ) (mehr Ausdruck der Empfindung als Malerey) 53
1855 Liszt (Berlioz und seine Haroldsymphonie)

Johann Kuhnaus (1660 - 1722)
(Musicalische Vorstellung einiger biblische Historien
1700)Johann Sebastien Bach (1685 - 1750) Johann Jacob (1682 - 1722)
(Capriccio sopra la lontananza del suo frattello dilettisimo
1705)Mendelssohn (1809 - 1847) (Sommernachtstraum)Berlioz
(1803 - 1869)(Symphonie fantastique1830) 54
Liszt 1849 - 1861 (Weimar)
Blow
MendelssohnSchumann
Brahms Liszt Wagner
(Neue Zeitschrift fr Musik)

(Niederrheinische Musikzeitung) 55
52
(La Primavera) Vivaldi (LEstate)

Vivaldi Antonio Vivaldi (2002). Le Quattro Stagioni, p. 2, 25.
53
Detlef Altenburg (1997).Programmusik.Die Musik in Geschichte und Gegenwart. Ed Ludwig Finscher, Sachteil, Vol.
7, 1840.
54
Franz Liszt (1881). Hektor Berlioz und seine Harold-Symphonie, pp. 336 339.
55
Liszt Wagner Franz Brendel (1832/33? - 1874) 1845 Schumann
Ludwig Bischoff (1794 - 1867) 1849 Wagner
(Zukunftsmusik)
118
200612
1.
2.
Hanslick
Liszt
56
(Programm) (Titel)
Hanslick
57
Beethoven
(Mondschein Sonate) Ludwig Rellstab (1799 - 1860)
(Vierwaldsttter See)
3.
56
57
Franz Liszt (1881). Hektor Berlioz und seine Harold-Symphonie, p. 342.

Eduard Hanslick (1989). Von Musikalischen Schnen, p. 137.
119
Berlioz
4.
Hanslick
(Formalist)
Hanslick
Richard Strauss (1864 - 1949) (Tondichtung)

Arnold Schnberg (1874 - 1951) 58
Schnberg Schnberg

58
(Neue Musik) Adorno Schnberg
120
200612
Wagner Hanslick
Hanslick 1854
Rudolph Weigel Johann Ambrosiu Barth
http://www.koelnklavier.de/quellen/hanslick/_start.html
(Accessed 2006.09.04) 12346
1. Leipzig (Rudolph Weigel) 1854
4. Leipzig (Johann Ambrosius Barth) 1874
Gustav Cohen 1891 1885
The Beautiful in Music
The Beautiful in Music
Geoffrey Payzant 1986 On the Musically Beautiful
Minnesota State University, Moorhead Theodore Gracyk
http://www.mnstate.
edu/gracyk/courses/aesthetics%20of%20music/hanslick_text_contents.htm (Accessed 2006.09.04)
121
Altenburg, Detlef (1997).Programmusik.Die Musik in Geschichte und Gegenwart. Ed. Ludwig

Finscher, Sachteil, Vol. 7. Kassel/Basel/London/New Yort/Prag: Brenreiter. 1822 1843.
Charlton, David (ed., 1989). E. T. A. Hoffmanns Musical Writings: Kreisleriana, The Poet and the
Composer, Music Criticism. Cambridge: Cambridge UP.
Csampai, Attila, Dietmar Holland (ed., 1990). Der Konzertfhrer: Orchestermusik von 1700 bis
zur Gegenwart. Reinbek: Rowohlt.
Dahlhaus, Carl (1967).Eduard Hanslick und der musikalische Formbegriff. Die
Musikforschung, Nr. 2. Kassel/Basel: Brenreiter, pp. 145 153.
------- (1994). Die Idee der absoluten Musik. Kassel/Basel/London/New Yort/Prag: Brenreiter.
Eggebrecht, Hans Heinrich (2004). Musik im Abendland: Prozesse und Stationen vom Mittelalter
bis zur Gegenwart. Mnchen: Piper
Friedrich, Sven (ed., 2005). Richard WagnerWerke, Schriften und Briefe. Digitale Bibliothek.
Berlin: Directmedia Publishing GmbH.
Gatz, Felix M. (ed., 1929). Musik-sthetik in ihren Hauptrichtungen: Ein Quellenbuch der
deutschen Musik-sthetik von Kant und der Frhromantik bis zur Gegenwart mit
Einfhrung und Erluterungen. Stuttgart: Ferdinand Enke.
Gregor-Dellin, Martin (1983). Wagner-Chronik: Daten zu Leben und Werk. Mnchen: DTV;
Kassel / Basel / London: Brenreiter.
Hanslick, Eduard (1989). Von Musikalischen Schnen: Ein Beitrag zur Revision der sthetik
der Tonkunst. Wiesbaden: Breitkopf & Hrtel. Eng. Trans. Gustav Cohen, The Beautiful
in Music, Geoffrey Payzant (1986). On the Musically Beautiful. Indianapolis: Hackett
Publishing.
Lippman, Edward (1992). A History of Western Musical Aesthetics. Lincoln/London: University of
Nebraska Press.
Liszt, Franz (1881). Hektor Berlioz und seine Harold-Symphonie. Leipzig: Breitkopf und Hrtel.
Moos, Paul (1922). Die Philosophie der Musik: von Kant bis Eduard von Hartmann. Stuttgart/
Berlin/Leipzig: Deutsche Verlags-Anstalt.
Morrow, Mary Sue (1997). German Music Criticism in the Late Eighteenth Century: Aesthetic
Issues in Instrumental Music. Cambridge: Cambridge UP.
Naumann, Barbara (ed., 1994). Die Sehnsucht der Sprache nach der Musik: Texte zur
musikalischen Poetik. Stuttgart/Weimar: J. B. Metzler.
122
200612
Nehring, Wolfgang (ed., 1973). Wilhelm Heinrich Wackenroder und Ludwig Tieck: Phantasien
ber die Kunst. Stuttgart: Philipp Reclam.
Paul, Jean (1964). Flegeljahre. Stuttgart: Reclam.
Seidel, Wilhelm (1994).Absolute Musik.Die Musik in Geschichte und Gegenwart. Ed. Ludwig
Finscher, Sachteil, Vol. 1. Kassel/Basel/London/New Yort/Prag: Brenreiter. 15 23.
Vivaldi, Antonio (2002). Le Quattro Stagioni. Kassel/Basel/London/New Yort/Prag: Brenreiter.
Hanslick, Eduard: The Beautiful in Music

http://www.mnstate.edu/gracyk/courses/aesthetics%20of%20music/hanslick_text_contents.htm
(Accessed 2006.09.04)
Hanslick, Eduard: Vom Musikalisch Schnen (Leipzig 1/1854)
http://www.koelnklavier.de/quellen/hanslick/_start.html (Accessed 2006.09.04)
Wikipedia (2006).Johannes Brahms,http://de.wikipedia.org/wiki/Johannes_Brahms#Orchester
werke (Accessed 2006.09.25)
5123156

ISSN 1814-1889
123
Nuper rosarum
Flores
Nuper
rosarum flores
Nuper rosarum flores
124
200612
The Cathedral of Santa Maria del Fiore in Music

An Exploration of Dufays MotetNuper rosarum flores
SHEN Yu-Chi
Graduate Student
Abstract
The four-voice isorhythemic motetNuper rosarum floreswas composed by Dufay, which
used for dedication of the Cathedral of Santa Maria del Fiore in Florence. Up to the present,
many musicologists still to lay up this work to discuss into the domain of music and architecture.
Nevertheless, the theory of the music and architecture based on mathematical foundation, also
using the numeral and the proportion expresses their commonness. This article will focus first on
correlated theories of the music and architecture, and further expound the esthetics concept of the
various scholars in the nineteenth century, finally, it will attempt through similar faces of Dufays
motetNuper rosarum floresand the Cathedral of Santa Maria del Fiore to analyze. According
to the humanism and the mathematical science of the Renaissance Ages to compare with the music
construction, namely two essential factorsrational proportion and number and perceptual
symbol, so as to expound the meaning of the architectural structure, the space and the symbol in
this work.
Keywords: Music and Architecture, Frozen music,Nuper rosarum flores, The Cathedral of
Santa Maria del Fiore, Number Symbolism.
Nuper rosarum Flores
125
Friedrich Wilhelm Joseph von Schelling, 1775-1854 1895

Philosophie der Kunst
1
ZeitkunstRaumkunst
Ferruccio Benvenuto Busoni,

1866-1924
Fantasia contrappuntistica, 1910 Otto
3
Bartning, 1883-19592 Haus Wylerberg
ein schnes Gebude in der That nichts anderes als eine mit dem Aug empfundene Musik, ein nichts in der Zeit, sondern
in der Raumfolge aufgefates Concert von Harmonien und harmonischen Verbind-ungen ist

1883 Karlsruhe1959 Darm-stadt1904
Berlin-Charlottenburg Technisch Hochschule
1950 1959 Prsident des Bundes Deutscher Architekten1952
Ehrendoktor der Technischen Hochschule Aachen1953
Otto-Bartning-Stiftung

NimwegenKleve 1921
1924

Die Musik in Geschichte und Gegenwart
Allgemeine Enzyklopdie der MusikFuge
126
200612
Alexander Nikolayevich Skrjabin, 1872-1915

Mysterium, 1914
Pythagoras von Samon, 571- 479 B.Cmusikalische Proportionen
Guillaume
Dufay, 1397-1474
Nuper rosarum flores6
Cathedral of Santa Maria del Fiore in Florence

Steinhauser737
127
Apollonios Rhodios, 298-? B.CZeusAntiope

AmphionZethusMt. Cithaeron
Lyra
Theben
7
Paul Valry,
1871-1945 1959
ber Kunst, Band 53
Amphion, Geschichte eines musikalischen Dramas
sthetische
Klang der Musik
http://gutenberg.spiegel.de/schwab/sagen/sch371a.htm2006/05/03
Diese Beziehungenvon Musik und Architekturandeutungsweise zu ahnen, ist leicht genugsie genau und im
einzeln zu bestimmen, ist eine heikle Sache, und es ist nicht unmglich zu bezweifeln, da es sie berhaupt gibt - denn
alles sthetische unterliegt dem Zweifel.Pascha9

http://upload.wikimedia.org/wikipedia/de/d/d6/Amphion.JPG2006/05/03

128
200612
()
1.
10
Tetraktyp1:2:3:4
11
6:8:9:12 Plato, 427-347 B.C Timaios-Tonleiter
1:2:3:4:8:9:27 Harmoniebegriff
Musik
der Himmelskrper
Bildende Kunst
Zah10
11
De la Motte-Haber64 F. GafurioTheorica musice, 1492

TimaiosTimaios-Tonleiter
129
lenverhltnisseMarcus Vitruvius Pollio, 100- B.C

De architectura libri decem
12
Hans Kayser, 1891-196413
Pstum14
2.
Aulerius
Augustinus, 354- 430Anicius Manlius Torquatus Severinus Boethius, 480- 525
Villard de Honnecourt, 1225- 125015
16
musikalische Zahlensthetik
Proportionlehre
Leon Battista Alberti, 1404-147217 De re
aedificatoria18
numerus
finitio
collocatioconcinnitas
zweidimensional
dreidimensional
19
Marcus Virtuvius PollioDe Archutectura Libri Decem-Zehn Bcher ber Architektur4. Auflage, Darmstadt 1987, pp.
29.
13
1920 Johannes
Kepler
14
Poseidonia
Poseidonia Pstum
15
1225 1250
freemasons
16
O.von Simson198
17
1404 Genova1472
18
1480 1485
19
Barthelmes131
12
130
200612
Dimension
20
Naturgesetz
Phnomenen
Ebenma
21
Schnheit
22
angenehmen Zusammenklnge
1234 platonischpythagoreischen Zahlenontologie
Harmoniegesetz23 1446 Rimini
Tempio Malatestiano
12:6 242:1= 16.5:114:3
Leon Battista AlbertiDe re aedificatoria Zehn Bcher ber die Baukunst, bersetz. Max Theurer, Wien und
Leipzig 1912, 9 Band, 5 Kapital, S.495-496
21
Ibid., 496
22
Ibid., 492
23
Barthelmes132
24
29.6
20
131
25
()
John Summerson, 1904-1992
intercolumniationtempo
26 Roger Scruton, 1944-
dimen-siongradation
27
Friedrich Schlegel, 1772-1829

gefrorene Musikversteinerte
Musikerstarrte Musik
1.
gefrorene Musik 1802

25
Barthelmes132
/ / 25-26
27
Scruton81-82
26
132
200612
ber deutsche Literatur
Vermischte Nachrichten und Bemerkungen
28
geheime Verbindung
synsthetische
AnalogierungenDorothea von Schlegel, 1764-1839
go-tische
KircheDom zu Kln
Fuge
29
Literarische Notizen 1797-1801
30
31
Plasmen
Innerlichkeit
2.
Johann Wolfgang von Goethe, 1749-1832 1827
Sprche in Prosa
verstummte Ton-kunst
erstarrten Musik
32
1828 7 4
Neuen allgemeinen deutschen Bibliothek, 78 Band, 1Stck, Berlin & Stettin 1803,
pp.206-207
29
Dorothea von SchlegelBriefwechsel, Mainz 1881, Band II, pp. 373
30
Literarische Notizen 1797-1801, Frankfurt am Mainz/ Berlin/ Wien 1980, Nr. 1854, pp. 188
31
Ibid., Nr.1403, pp. 150
32
Johann Wolfgang von Goethe,Maximen und Reflexionen, herausgegeben von Max Hecker. 21.Band, Weimar 1907,
pp.382
28
133
stumme Musik
33
Arthur Schopenhauer, 1788-1860
Johann Peter Eckermann, 1792-1854
Gesprche mit Goethe
Effekt der Musik

34
1827
Erich Schmidt, 1853-1913
3.
35
1859 Philosophie der Kunst
Jena36
erstarrte Musik
SchematismusZahl
geometrische Verhltnis
37
struktureller
GesetzmigkeitPotenz
33
Ibid., pp.382
Arthur Schopenhauer,Die Welt als Wille und Vorstellung, Zrich 1988, Band IIvon 1844, pp.528
35
36
Agust Wilhelm von Schlegel, 1767-1845
1802 ber schne Literatur und Kunst
37
Friedrich Wilhelm Joseph von Schelling,Philosophie der Kunst, Nachdruckt, Darmstad 1976, 107, pp.220
34
134
200612
RalemIdealemIneinsbildung
concrete Musik
Sinnesempfindung
synsthetische bereinstimmung38
1294 1496 Santa

Maria del FioreFiorenza
buttresses39
40 zentralbaulische Kirche41
AthensCorinthian order
38
Pascha38-44
40
Heydenreich13
41
39
135
42
classical
Peter MurrayGothic cathedrale

stained-glass
43
modular system of
Proportion
Filippo Brunelleschi, 1377-146644 1418
Giotto di Bondone, 1266-133745 1359
42
Murray31Guiseppe Zocchi ,Scelta di XXIV vedute delle principali contrade, piazza, chiese e
palazzo della citt di Firenze, 1744
43
Murray7
44
24
Baptistery of San Giovanni
45
14 1334 4 12
7 19
(Siena)
136
200612
138.5 190
1420
Centring
rib
arch ring
46
46
/ / 152
137
herring-bone bond
47
Via dellApparen-za

Burgundian School48
isorhythmische motette
Nuper rosarum flores Eugenius IV

1436 3 25 49
Mirandas paritSalve flos
47
Grtner93Antonio da Sangallo Galleria degli Uffizi

1397 8 5 Beersel1474 11 27 Cambrai1427
1428 3 1428 12
cantores capelle pape 1435 1436 magister capella magister
capella
Joh.
OckeghemLoyset Compre
49
26 38 Gabriel
48
138
200612
TusceFlorentiner Motetten
golden roses50 Laetare Sunday51
52
Vasilissa ergo gaude
4-part
1420
O gloriose tyro
4-part
1420
O gemma, lux et speculum
4-part
1425/26
Apostolo glorioso
5-part
1426
Rite maiorem Jacobum
4-part
1426/27
O sancte Sebastiane
4-part
1429
Balsamus et munda cera
4-part
1431
Ecclesie militantis
5-part
1431
Supremum est mortalibus
3-part
1433
4-part
1436
Salve flos Tusce
4-part
1436
Magnan me gentes
3-part
1438
Moribus et genere
4-part
1441/42
Fulgens iubar ecclesie
4-part
1442
()
Fibonancci-Zahlen53
Goldene Schnitt54
Divina Proportione
50
51
52
deadly sin
53
Leonardo Fibonacci,11751250
1, 2, 3, 5, 8, 13, 21, 34, 55, 89, 144
54
ABAP APPB
139
55
56
Triplum
Motetus57 Tenor III
A B Duo
Quartet AB C D
Duo Quartet
A B Charles W. Warren
58
bracci
59
60
55
Wright418
Wittkower21 Francesco di Giorgio, 1439-1502 Codex
Magliabechiano
57
58
58 70 1 braccio
24
59
28 integer valor
60
Warren93-95Barthelmes130-131
56
140
200612
61
DuoTriplum+Motetus
Pie et sancte deditumI/461
mm.1-28
Quartet
Grandis templum machinae
Sanctisque liquoribusII/6
mm.29-56
DuoTriplum+Motetus
Consecrare dignatus est
Virgo decus virginumIII/3
mm.57-84
Quartet
Tuus te FLORENTIAE
Mundo quicquam exoraritIII/7
mm.85-112
DuoTriplum+Motetus
Ora--IV/1
mm.113-126
Quartet
Ora-tione tua
Tui secundum carnemIV/3
mm.127-140
DuoTriplum+Motetus
Nati domini suiIV/4
mm.141-154
Quartet
Grata beneficia
Accipere mereaturIV/7
mm.155-168
Quartet
Amen
mm.169-170
()
Cantus firmus
transept
apsetambour 3211.5
642362
61
62
I / 4
Warren94-95Wright400-401
141
63
Mensuralnotation
Amm. 29-56
dreizeitige tempus perfectum
Bmm. 85-112
zweizeitige tempus imperfectum
Cmm. 127-140
tempus imperfectum diminutum
Dmm. 155-168
tempus perfectum diminutum
IntroitusIn Anniversario Dedicationis

EccelesiaeTerribilis est locus iste
28:17Jacob
64
A-D D-G
Tetra-chord
63
64
Heydenreich13
Terribilis est locus iste, hic domus dei est, et porta coeliet vocabitur aula dei.
142
200612
65
66
taleacolor
mm.29-5567
68
65
Helga Weber, Guillaume Dufay, Smtliche Isorhythmischen Motetten , 7 Cantilenen Motetten, zusammenarbeit
mit Marianne Richter Pfau, ditions utilises, Leipzig/Rom/Monaco, 1966.
66
Wright398
67
Ryschawy, Stoll9
68
Ibid., pp. 10
143
Gerhard Croll, 1927- 1968
Dufays Festmusik zur Florentiner Domweihe

1123581321
345589144 144 55
5669
70
()
Triplum G B D
Triplum mm.1-4
69
70
Croll540-542
Barthelmes130
144
200612
I
I V
Landini Cadence
mm.55-56
C mm.113-140Triplum Motetus
.
Hocketusmelisma
C TriplumMotetus
polyphonic texture
Triplum homophonic texture
Duo C
A Duo
145
Duo
ADuo
BDuo
DDuo
mm.1-6
mm.7-14
mm.15-20
mm.21-26
melisma
mm.27-29
a1
mm.56-71
b1
mm.72-78
c1 d 1
mm.79-84
a2melisma
mm.141-146
b2melisma
mm.147-151
c2melisma
mm.152-154
amm.1-4Triplum
a1mm.57-60Triplum
a2mm.141-143Triplum
cmm.15-18Motetus c1mm.76-80Motetus
augmentationdimi-nution
()
146
200612
15
finalis
D
Hypodorian A-G imperfectus
71
15 B B
B B
72
Triplum
PolymodalityTriplum
MotetusHypomixolydian
Mixolydian
Triplum G A B C D E F G
Motetus G A B C D E F G
Bicinium
Venezianische Schule
coro-spezzatoTechnik
San Marco
71
72
Carpenter11
Ibid.
147

1973 Charles W. Warren
Brunelleschi's Dome and Dufay's Motet
Marvin
Trachtenberg, 1937-
numerology
polyvalent
semantic
73
()74
1.
Zahlensymbolik
Ordnugsverfahren
Zahlenfolge
SymbolikSymbolbegriff
semiotischen
Theorieknstlich-arbitrre
Mentalitt
Denkform
nicht-linearer
terminologischer Konsens
Bestandteil der
73
74
Trachtenbergpp.756
Ltteken2126-2131
148
200612
Allegorese
2.
Zahlenallegorese
strukturelle Parameter
ProportionslehrePythagoreer
Zahlenverhltnisse
Saint Augustine, 354-43075
BedeutungsschichtenHugo von Sankt

Viktor, 1097-1141Bedeutungs-trger
res persona locus tempus gesta
numerus
Heilsgeschichte
Sinnzahlhaften Ordnung
Heiligung
von ZahlenDenkfigur
MechanismEntheiligung
naturwissenschaftliche Operationen
FaktizittNuminosen
mentalittsgeschichtlich
()
1.
75
396 430
De civitate Dei
149
sanctuary
Della tranquillita dellanimo
76
deadly sin
Seven Servite Founders
Christian Berg Triplum
Codex Turin J. II. 9Marien-HymnusPlaudat chorus
fidelium77 Triplum
Triplum Plaudat chorus fidelium
2.
Nuper rosarum floresStrophen
Silben
3.
Craig WrightNuper rosarum flores
Christian philsophy
76
77
/ / 228-229
Berg699
150
200612
Temple of King Solomon 6423

religious number symbolism78Lionel
March
Architectonics of Humanism
Essays on Number in Architecture
60 crubits79 40 20 30
6423
80
4.
6423
6423 6423 144
Hans RysacawyRolf W. Stoll

484 Terribilis est locus iste 22
1152
8144 1152 144
78
Triplum
484
Motetus
484
Tenor II
88224
Tenor I
88224
Amen Tenor I II
842
1152 8144
Wright405-406
3000 457
(18 ) (524 20.6 ) 28 4 5
12 ( )14 16 (t'ser)
20
80
March119-120
79
151
Nuper
rosarum flores
metaphysische Harmoniekonzept
Artes liberales
Carl Dahlhaus, 1928-1989

seriellen Musik
lautenten Pythagoreismus81
Georg Wilhelm Friedrich Hegel,
1770-1831Arthur Schopenhauer, 1788-1860
81
Carl Dahlhaus,Musik und Zahl, inDaidalos 17, 1985, pp. 18-25
152
200612

Ex dono pontificis
Hieme licet horrida
Tibi,virgo coelica
Pie et sancte deditum
Grandis templum machinae
Condecorarunt perpetim
Hodie vicarius
Jesu Christi et Petri
Successor EUGENIUS
Hoc idem amplissimum
Sacris templum manibus
Sanctisque liquoribus
Consecrare dignatus est
Eugenius
Igitur, alma parens

Nati tui et filia
Virgo decus virginum
Tuus te FLORENTIAE
Devotus orat populus
Ut qui mente et corpore
Mundo quicquam exorarit
Oratione tua
Cruciatus et meritis
Tui secundum carnem
Nati domini sui
Grata beneficia
Veniamque reatum
Accipere mereatur
Amen
TENOR
Terribilis est locus iste
153
()
Ltteken, Laurenz,Zahlensymbolikin die Musik in Geschichte und Gegenwart Allgemeine
Enzyklopdie der Musik, begrndet von Friedrich Blume, zweite, neubearbeitete Ausgabe,
herausgegeben von Ludwig Finscher, Sachteil IX. Kassel, Stuttgart, Brenreiter: Metzler,
1998.
Steinhauser, Ulrike,Musik und Architekturin die Musik in Geschichte und Gegen-wart
Allgemeine Enzyklopdie der Musik, begrndet von Friedrich
Blume, zweite, neubearbeitete Ausgabe, herausgegeben von Ludwig Finscher,
Sachteil VI. Kassel, Stuttgart, Brenreiter: Metzler, 1997.
()
Berger, Christian., Ma und Klang Die Gestaltung des Tonraumes in der frhen
abendlndischen Mehrstimmigkeit, from Raum und Raumvorstellung in Mittelal- alter,
Herausgegeben von Jan A. Aertsen und Andreas Speer., Berlin: de Gruyter, 1998, pp.
688-701.
Cumming, Julie E., The Motet in the Age of Du Fay, London: Cambridge University Press, 1999.
De la Motte- Haber, Helga, herausgegeben., Musiksthetik Handbuch der Systematischen
Musikwissenschaft Band 1, Laaber: Laaber- Verlag, 2004.
Grtner, Peter J., Filippo Brunelleschi 1377-1446, Kln: Knemann Verlagsgesellschaft mbH, 1998.
Heydenreich, Ludwig Heinrich, Architecture in Italy 1400- 1500, London: Yale University Press,
1996.
March, Lionel, Architectonics of Humanism Essays on Number in Architecture, New York/
Weinheim/ Brisbane/ Singapore/ Toronto: Academy Editions, 1998.
Murray, Peter, The Architecture of the Italian Renaissance, 3th Edition, New York: Schocken
Book, 1986.
Ryschawy, Hans., Stoll, Rolf W.Die Bedeutung der Zahl in Dufays Komposi-tionsart: Nuper
rosarum floresfrom Musik- Konzepte 60 Guillaume Dufay, Herausgegeben von HeinzKlaus Metzger und Rainer Riehn, Mnchen: edition text kritik, 1988, pp.1-73.
Scruton, Roger, The Aesthetics of Architecture, 2th Edition, Princeton/ New Jersey: Princeton
University Press, 1980.
154
200612
v. Simson, Otto George., The Gothic CathedralOrigins of Gothic Architecture and the
Medieval Concept of Order, New York: Princeton University Press, 1988.
Stolba, K. Marie,ed., The Development of Western Music, USA: Wm. C. Brown Publischers,
1991.
Wittkower, Rudolf, Architectural Principles in the age of Humanism, New York/ Weinheim/
Brisbane/ Singapore/ Toronto: Academy Editions, 1998.
()
Croll, Gerhard,Dufays Festmusik zur Florentiner Domweihefrom sterreiche Musikzeitung,
Vol. 23, 1968, pp.538-547.
Carpenter, Patricia,Tonal Coherence in a Motet of Dufayfrom Journal of Music Theory, Vol.
17, No. 1Spring, 1973, pp.2- 64.
Warren, Charles W.,Brunelleschi's Dome and Dufay's Motetfrom The Musical Quarterly,
Vol. 59, No. 1, 1973, pp. 92-105.
Sandresky, Margaret Vardell,The Golden Section in Three Byzantine Motets of Dufayfrom
Journal of Music Theory,Vol. 25, No. 2, 1981, pp. 291-306.
Barthelmes, Babara,Polyphonie der Proportionen, Zum Verhltnis von Architektur und Musik in der Renaissancefrom Musica, Vol. 39, 1985, pp.129-136.
Wright, Craig,Dufay's "Nuper rosarum flores", King Solomon's Temple, and the Veneration
of the Virginfrom Journal of the American Musicological Society, Vol. 47, No. 3, 1994,
pp. 395-441.
Trachtenberg, Marvin,Architecture and Music Reunited: A New Reading of Dufay's "Nuper
Rosarum Flores" and the Cathedral of Florence, from Renaissance Quarterly, Vol. 54,
No. 3, 2001, pp. 740-775.
Pascha, Saleh Khaled, Gefrorene Musik, Das Verhltnis von Architektur und Musik in der
sthetischen Theorie. Von der Fakultt VII-Architektur der Technischen Universitt Berlin
zur Erlangung des akademischen Grades Doktor der Ingenieurwissenschaften Dr.-Ing.genehmigte Dissertation. Berlin, 2004.
()
1993
/ , /
2000
155
2003
John Summerson/ , /
2006
()
Stolba, K. Marie, ed., The Development of Western MusicAnthology Vol. I, USA: Wm. C.
Brown Publischers, 1991.
156
200612
5157-170
Guandu Music Journal No.05 pp.157-1702006

ISSN 1814-1889
157
()
158
200612
Report on
The Fourth Meeting of the Study group Music and
Minorities of
The International Council for Traditional Music (ICTM) in
Varna (Bulgaria), 2006
Dr. LEE Schu-Chi

()
159
(Music and Minorities) (ICTM)

12 1 1999
2000 (Ljubljana/Slovenia)
2002 (Lublin/Poland)2004
(Ro/Croatia)2008 (Prague/Czechoslovakia) 8 25
9 1 (Varna/Bulgaria)
(Black See)
80
12 1. (Folk Musical Instruments)2. (Historical

Sources of Traditional Music)3. (Ethnochoreology)4. (Oceania)5. (Iconography)
6. (Computer Aided Research)7. (Music and Gender)8. (Maqam)9.
(Music of the Arab World)10. (Anthropology of Music in Mediterranean
Cultures)11. (Music and Minorities)12. (Music Archeology)
(Asian Music Study Group ) 13
160
200612
60
(Varna/Bulgaria)
1.Hybridity as a musical concept
2.Majority - minority - relations in music and dance
3.Music education of minority children

()
161
4. Race, Class, Gender: Factors in the Creation of Minority
Elka Tschernokoshewa (Germany): Theses and Avenues of Research
Spreewald (Sorben)
Rosematy Statelova (Bulgaria)
(Sorben) (Lusatia)
Rosematy STATELOVA (Bulgaria): Music Education of Children by Sorbs

Claire Levy (Bulgaria): Performing Hybridity: On the Case of Karandila Band
Irene MARKOFF (Canada): The Case for Transgressive Musical Orientations in

Contemporary Alevi Musical Expression: Purity versus Hybridity in the Sacred/Secular
Continuum
1.
Zuzana JURKOVA (Czech Republic): Czech Rompop Scene

Lozanka PEYCHEVA (Bulgaria): Hybridization of Local Music from Bulgaria: the Role of
162
200612
Gypsy Clarinetists;
Judith R. COHEN (Canada): Music in the Lives of Marranosand Gypsies in a
Portuguese Village;
Gjermund KOLLTVEIT (Norway): Development of Musical Style and Identity Among the
Romani People of Norway;
Ieva TIHOVSKA (Latvia): Latvian Roma Music. 2003-2005 fieldwork report;
Gencho GAYTANDJIEV (Bulgaria): Roma Children in Bulgarian Schools: Are the Internal
Obstacles Surmounted?;
Filippo BONINI BARALDI (Italy): Music in a Hungarian/Rom Village in Romania;
Sachiko TAKIGUCHI (Japan): Factors in the Creation of Minorities. Expressions of
Gender in Romani Music in Austria
2.
(Emmanuela
KAVVADIA) Bozena MUSZKALSKA
(Klezmer)
(Bukharian)
(Gerda LECHLEITNER)
(Essica
MARKS)
(Klezmer)
(Dimitrina KAUFMAN& Nikolaj KAUFMAN)
Gerda LECHLEITNER (Austria): Education, Tradition and Rules - Pillars of Immigrant
Societies: the Bukharian Jews in Vienna
Bozena MUSZKALSKA (Poland): Freylekh, Jazz, and Chopin. Klezmer-Movement in
Contemporary Poland
Veronika SEIDLOVA (Czech Republic): Music and Identity in Contemporary Worship of
the Prague Jews
Emmanuela KAVVADIA (Greece): The Music Synagogue of Corfu and Ioannina (Greece):
The Impact of Different Diaspora Processes in Expressive Religious Culture
Essica MARKS (Israel): Two Cultural Minorities in Israel: Jerusalem-Sephardi Musical

()
163
Tradition and Arab-Israeli Musical Culture

Dimitrina KAUFMAN (Bulgraia): The Klezmer Musical Ideas in the Music Of the Northern
And Southern Balkans
Nikolaj KAUFMAN (Bulgaria): Jewish Songs in My Choral Composition
3.
60 (Ivanka VLAEVA)
(Bektashi) (Rumiana
MARGARITOVA and Stephan BALASCHEV)
(1396-1878)
Ventsislav DIMOV 1950
20
(Gergana PANOVA-THEKAT)
Ivanka VLAEVA (Bulgaria): Hybridity in the Turkish Records in the 1960s in Bulgaria
Ventsislav DIMOV (Bulgaria): About Some Early Sound Evidence of Musical Hybridization
Gergana PANOVA-THEKAT (Bulgaria): Dance as an Expression of Hybridity and
Ethnocentrism
Rumiana MARGARITOVA and Stephan BALASCHEV (Bulgaria): Behind the
Borderline of Musical Conservativeness: The Learning of Musical Traditions and Their
Development in the Practice of a Young Bektashi Performer in Bulgaria
164
200612
4.
Hip-Hop
(Thomas SOLOMON) Ayhan
EROL Alev
(Iman Ali )
( pop, rock, Turkish arabesk)
Dorit KLEBE Alev
(Saz or baglama)
Hande
SAGLAM 50 Alev
(Saz or baglama)
(Alawi philosophy) 20
Thomas SOLOMON (USA): Transformations of Turkish Hip-Hop Nationalism, from

Diaspora to the Homeland

()
165
Ayhan EROL (Turkey): Change and Continuity in Alevi Musical Identity

Dorit KLEBE (Germany): Music Education of Children Learning to Play the baglama - in
the Context of Transmission of Musical Traditions of the Alev Ceremony in Berlin/Germany
Hande SAGLAM (Turkey/Austria): Music as a Cultural, Social and Religious
Transmission - Element among Alevis in Vienna-Austria
5.
Naila CERIBASIC
(Crotic)
Aleksandra MARKOVIC
(Bunjevci)
(authentic)
Alma BEJTULLAHU and Ursa SIVIC 1991
166
200612
(Dalmatia)
Ana HOFMAN
Naila CERIBASIC (Crotia): Macedonian Music, Macedonians and Non-Macedonians in

Croatia
Aleksandra MARKOVIC (Serbia): Our Genuine Songs: Perception of Musical Change
Alma BEJTULLAHU and Ursa SIVIC (Slovenia): Receiving, Reinventing: the Journeys of
Balkan and Mediterranean Music to Slovenia, two study cases
Ana HOFMAN (Serbia): Singing Exclusion- Female Singers in the Musical Practices of
Southeast Serbia
6. , Yoshiko OKAZAKI
Alice Lumi SATOM

()
167
Akiko TAKAHASHI
Yoshiko OKAZAKI (Japan): The Possibilities and Limitations of Cultural Transmission

among a Migrant Community
Alice Lumi SATOM (Japan)I: Transmission of Japanese Instruments for Brazilian Nikkei
Children
Akiko TAKAHASHI (Japan): Purposes and Teaching-materials of Music-lessons in the
Japanese Elementary School in Austria
7. Larry Francis HILARIAN

15
Timkehet TEFFERA
Gisa JHNICHEN
Elena SHISHKINA
(Finno-Ugric)
Larry Francis HILARIAN (Singapor): Hadhrami Contributions to Music and Dance in the
Malay World
Timkehet TEFFERA (Germany): Taboos and Exceptions: Women Playing Aerophones in
East Africa
Gisa JHNICHEN (Germany): Children Musicians in Class-Race-Gender-Conflicts
Adriana HELBIG (USA): Race, Place, and the Marketing of Black Music in Ukraine
Elena SHISHKINA (Russia): Growth of Hybrid and Conglomerate Tendencies in the
Traditional Musical Culture of the Volga Region - Germans at the Beginning of the third
Millenium
168
200612
(Sofia)
(Cyrillic)
110,994 (2005)
1/3 80 (9.5 %)
(Sinti and Roma) 4.6%
1% 1.14%84%
12% 1990 (
150 )
6000
(Thracians) 700

()
169
(Black see) (Varna) (Nessebar) (

6000 ) 500-400
(Odrysen Empaire) 100
3-4
500
(protobulgarian) 618-1018 (Pliska)
886 (Cyril) (Methodius) (Climent)
Cyrillic alphabet
( Old Church Slavonic)
893-10841396-1878
1877-78
(Nessebar)
170
200612
(Gaida)
1. Schopluk, Schopenregion
2. Pirinregion
3. Rhodopen,
4. Thrakien,
5. Northbulgaria (Mysien)
6. Dobrudscha
5171-188
Guandu Music Journal No.05 pp.171-1882006

ISSN 1814-1889
171
2006
The International Society for Contemporary Music -- ISCM

1922 8 11
1989
1923
(World Music Days)
2006
172
200612
GRENZENLOS- ISCM World New Music Days 2006/

Stuttgart 14 to 29 July
CHOU Yi-An and JEN Chen-Hui
173
2006
2006
90 34
59 178 GRENZENLOS
ISCM StockhausenBoulez
Ensemble
Modern Encounter of Indian and European
Musicians
Karlsruhe Bhagwati
Ensemble Modern
Mihaela Stanculescu- Vosganian
Younghi Pagh-Pan Mondschatten
Younghi Pagh-Pan
174
200612
Ensemble Modern
Younghi Pagh-Pan
2006
175
Karlsruhe ZKMZentrum fr Kunst und Medientechnologie

in Karlsruhe
ZKM
ZKM ZKM
Quartet New Generation
Thomas Kessler , said the

shotgun to the head Rap
Kessler
176
200612
Sound Park
2006
177
Stuttgart Radio Symphony Orchestra

Ensemble recherche
Arditti Quartet
3
1
2
Irvine Arditti
Choir of the Staatsoper Stuttgart

1
Ensemble musikfabrik
2
Ensemble modern
4
Neue vocalsolisten Stuttgart

3
Isao nakamura ensemble
1
Ives ensemble
1
Ensemble Inter- Art
1
Elastic 3
1
ZKM center for art and media Karlsrule

3
Quartet new generation

1
Ensemble antipoeles
1
Kammerensemble neue musik Berlin
1
Ensemble mosaik
1
Staatsolchester Stuttgart
1
SWR Stuttgart vocal ensemble
2
Ensemble ascolta
2
Zappa ,
Junges Streichorchester Weil im Schnbuch

1
Jugendsinfonieorchester Bad Mergentheim
1
Symphonisches Orchester of the Fanny Leicht 1
Gymnasium Stuttbart Vaihingen
Orchestra of the Helmholtz Gymnasium Karlsruhe 1
Orchestra of the Goethe Gymnasium Ludwigsburg 1
Stuttgart Kammerorchester
2
Choir of the Deutshe Schule der Borromerinnen 1
Kairo
High School Chor aus Luis Obispo
1
178
200612
Chor des Eberhard- Ludwig- Gymnasiums

1
Orchester des Eberhard- Ludwig- Gymnasiums
1
Centre for Research of Opera and Music Theatre, 1
Sussex
Forum Neues Musiktheater der Staatsoper Stuttgart 1
STEIM, Amsterdam
1
Tempo Reale, Florenz
1
Ensemble Aventure Freiburg
1
*
34
Orchestra
works
Chamber
music
Orpera
Electronic
Music
7/15
Video opera
7/18
7/18
7/14
7/15
7/15
7/23
7/25 School
7/15 Arditti
7/16
7/21 Yunhi
7/22 Cantata
7/28
7/16 Arditti
7/22
7/29
7/17
7/17
7/18
7/18
7/19
7/19
7/20
7/21 Solo
7/22
7/23
7/23 organ
7/23
7/23
7/25 Indian
7/27 chamber
orchestra
7/29
20
3
Installastionand
others
7/20
7/16
Installastion
7/19
7/22 Zappa
7/24 Isherwood 7/26 Vocal
7/28 club
7/26
music
7/28
Music theater
179
2006
Grenzenlos
Theaterhaus
KunstmuseumStaatoperForum Neues Musiktheater
Pariser Platz
Mario Caroli
Arditti Ensemble Modern
noise
180
200612
Radio-Sinfonieorchester Stuttgart des SWR
Klaus Huber
Yonghi Pagh PaanThomas Kessler
Sula
Helena Tulve (1972~)
Sogni tra suoni Mihaela Stanculescu-Vosganian (1961~)
Ima, koko Misato

Mochizuki (1969~)
IRCAM
Helena Tulve
ISCM
2006
181
Jonathan Stockhammer
Jonathan
recluse
Carolin Widmann
Carolin Do
you like it?Of course, I like it, so I play it.Carolin
Jonathan
Thomas Kessler
Jonathan Jonathan
Thomas WillowThomas
Willow
182
200612
JonathanCarolin Thomas
Thomas
Rap
Saul
Thomas
colorfulbeautiful
2006
183
Hnenpark KillesbergSound
Park
Musique
Concrte
184
200612
2006
185
186
200612
2006
187
188
200612
5189192

ISSN 1814-1889
189
Delirium
for vocalist without perfect pitch
( )
190
200612
Delirium
for vocalist without perfect pitch
Dr. HUNG Chung-Kwun

Associate Professor
Abstract
Men are so necessarily mad, that not to be mad would amount to another form of
madness.
Blaise Pascal: Penses
Delirium for vocalist without perfect pitch immediately appears to be a scarcely possible
job for any vocalist without perfect pitch to execute all the formidably demanding techniques
required in the score. However, it is exactly through such technical impossibility and infeasibility
that the piece depicts the nearly insane state of delirium. The piece is dedicated to the Guandu
Music Journal for its fitth issue.
Delirium for vocalist without perfect pitch
191
192
200612
193
-
6-7 1993
1993 P&J 1994
P&J 1994
1995
1995 16-18
2001
2002
Pan Hwang-Long. Leben und Werk. Studien zur zeitgenssischen Kunstmusik in

Taiwan, Aachen 2005 (
(Aachen) 2005 )
( 1992 Alphonse
Leduc )
(1992 )
( )(
2002 )
194
200612
Palestrina Schenker

195
()
1.
100002000020
2. 1000015
3. 1000015
4. 1000015
5. 10000
15
6. 6000
1. ()
2.
(1)(2)(3)(4)
3.
196
200612
4.
5.
6.
7. A4MS Word7.0
300dpi
8.
300
Chicago Manual of StyleMLA Manual of

Style style
*,**,***....
300
1.
A.
a.
1.
2. 11-11 1-1
197
1. MLA
--
Edward F. Kravitt, The Lied: Mirror of Late Romanticism.New Haven and

London:Yale University Press,199632.
2001
Kravitt, Edward F. The Lied: Mirror of Late Romanticism.. New Haven and
London:Yale University Press, 1996.
2001
...
Kravitt, Edward F. Tempo as an Expressive Element in the Late Romantic Lied.

Musical Quarterly 59Oct, 1973: 497-518.
198
200612

Musical Quarterly 59.4(1973: 497-518.
()
URL
Nettl, Bruno. "Folk Music." Encyclopedia Americana. 2006. Grolier Online.

11 Dec. 2006 <http://ea.grolier.com/cgi-bin/article?assetid=0161030-00>
2. Chicago style
--
Kravitt, Edward F. The Lied: Mirror of Late Romanticism.New Haven and

London: Yale University Press, 1996, 120.
2001,20
Kravitt, Edward F. The Lied: Mirror of Late Romanticism. New Haven and
London, :Yale University Press, 1996.
2001

Musical Quarterly 59, no.4Oct, 1973: 497-518.
Nettl, Bruno. "Folk Music." Encyclopedia Americana. Grolier Online http://ea.grolier.

com/cgi-bin/article?assetid=0161030-00 (accessed December 11, 2006).
199
http://www.tnua.edu.
tw/~musiccollege/PDF
guandu-music@tnua.edu.tw(
)---
1121~
866-2-2896-10003201866-2-2893-8856
612
200762007228300
331
2007122007815300
930
200
200612
E-mail
Fax
6,000 10,000 20,000
http://www.tnua.
edu.tw/~musiccollege/PDF
()
---
1121
TEL(02)289610003201FAX(02)2893-8856
guandu-music@tnua.edu.tw
201
E - m a i l

Guandu Music Journal, No.5

Dean
PAN Hwang-Long
Editor
Editorial Committee of Guandu Music Journal
Publisher
College of Music, Taipei National University of the Arts
112011
No.1, Xueh-Yuan Rd., Beitou, Taipei City, 11201, Taiwan
02-2896-10003201
Tel+886-2-2896-1000 ext 3201
02-2893-8856
Fax+886-2-2893-8856
Editor in Chief
English Consultant TSAI Ling-Huei
Excutive Editor
SHEN Da-Wei
Editor Assiatant
SU Hsiang-Ju
Cover Page Design SHEU Fu-Fan
Title Calligrapher
CHANG Ching-Chih
Printer
Tien Kai Printing Co., Ltd.
250
Price
NT$ 250
http://www.tnua.edu.tw/~musiccollege
Website: http://www.tnua.edu.tw/~musiccollege
guandu-music@tnua.edu.tw
E-mail: guandu-music@tnua.edu.tw
WANG Mei-Chu

9512
Copyright 2006 by College of Music, Taipei National University of the Arts. Printed in Taiwan, ROC
ISSN 1814-1889

關渡音樂學刊第五號 - 國立臺北藝術大學

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

關渡音樂學刊第五號 - 國立臺北藝術大學

Uploaded by

Copyright:

Available Formats

Guandu Music Journal

Herrad von Landsberg

Herrad von Landsberg 1175

Mond~ DufayNuper Rosarum Flores

Authors Brief Resume.....................................................................................................................................193

Guandu Music Journal No.05 pp.1242006

Multi-thoughts of sonoristic space:

Dr. YIM Fuk-Wing

Keywords: pitch, rhythm, timbre, texture, structure

Contemporary Chamber Orchestra Taipei

total structuremusic character

As.1 - s.3p.3s.3p.3 - s.4

db-ab e-b g-d1 b-f#1 f1-c2 5

Berry, Wallace. Structural Functions in Music. New York: Dover, 1987.

Guandu Music Journal No.05 pp.25502006

A Study of the String Quartet II (1977) of Pan Hwang-long

Dr. SUNG Yu-Jen

1977 (Hannover) (Zweites

(Verweigerung von Gewohnheit) 4

()(musique concrte instrumentale)

Helmut Lachenmann:Dialektischer Strukturalismus, in: sthetik und Komposition

(Klang als Zustand)

Helmut Lachenmann 23.

(Sechs Bagatellen fr Streichquartett

(=76) (=40) (=120)

(37 ) (38 ) (38

(mit dem Bogen geschlagen)

Anton Webern: Sechs Bagatellen fr Streichquartett op. 9 1-8

Josefine Helen Horn:Postserielle Mechanismen der Formgenerierung. Zur Entstehung von

---:Dialektischer Strukturalismus , in: sthetik und Komposition

Guandu Music Journal No.05 pp.51762006

1977 (1930-1996) 1973-79

The Return and Omnipresence of Pentatonicism

Dr. LIEN Hsien-Sheng

(Tokyo, KING RECORDS, KICC 354-6, 1969, 2001 )

Romance 1998 2000 Schott Japan Company Ltd.

(Federico Mompou1893-1987) Romance

Dorian (Ritsu) Dorian

(Harmonic Pitches) (Echoes)

Musique : Tru TAKEMITSU by SALABERT

Grard Billaudot 1985

Grard Billaudot Editeur SA, Paris.

Gyrgy Ligeti (1923-2006)

Grard Billaudot Editeur SA, Paris.

35-38 Grard Billaudot

(Un Ptale de Lumire

Grard Billaudot Editeur SA, Paris.

2000 (Instant dun Opra de Pkin

) Polyphone, vol. 8, Tky, 1991

( Polyphone, vol. 8, Tky, 1991)

Guandu Music Journal No.05 pp.771042006

Carl Orff1895 ~ 1982

Research on C. Orff s Musical Language of Mrchenoper

Carl Orff1895 ~ 1982

E. Helm, 1955, p.286.

Jacob Grimm, 1785~1863Wilhelm Grimm, 1786~1859

Ach, da hngt ja der Mond!

Orff Der Mond13

1939 Bayerische Staatsoper Mnchen

Der Mond21 Erzhler

Orff R. Wagner Musikdrama

Jean C. Sloop,Der Mond, in the International Dictionary of Opera, 1993, p. 887.

E. Helm, 1955, p.296.

M. StegemannCD 1998 10 Orff Gesamtkunstwerk