不確定性的理性特徵初探：以約翰・凱吉〈鋼琴獨奏〉為例

A Preliminary Investigation of Rational Features of Indeterminacy— Taking John Cage’s Solo for Piano as an Example

社會學家馬克斯・韋伯（Max Weber）將理性理論應用於西方音樂時，發現西方音樂具有系統性及結構性的理性特徵。然而，當音樂進入前衛藝術時期時，其聲響變得混亂、不可預測，其記譜則充滿高度詮釋自由。這是否暗示此時期的音樂失去韋伯所說的理性特徵？又或是，理性特徵已隨著音樂轉換？美國前衛作曲家約翰・凱吉（John Milton Cage Jr.）基於禪學重新定義音樂，發展出自創的繪圖作曲系統用以創作。從凱吉的繪圖作曲系統中可發現價值理性及目的理性的存在，因此本文將以凱吉的不確定音樂《〈鋼琴獨奏》〉為例套用理性理論，嘗試找出不確定性中的理性特徵。結果發現，《〈鋼琴獨奏》〉的系統性及結構性隱藏於碎片化的繪圖記譜中，故本文嘗試進行理性理論延伸，提出跨社會學理論的不確定音樂及繪圖記譜分析模式，以新視角剖析不確定音樂。

 

Le nuove musiche, Caccini’s renown publication, was one among a few self-titled in "new music" which nevertheless was rarely seen to be truly advocated as a milestone of new era by all music historians. Articulated in its preface, Caccini addressed to the readers why he published this song collection and what he claimed on composing music and singing practice which was influenced by scholars and certain members of Florentine Camerata. Consequently, they all pointed to a neoplatonic, ancient-Greek-tragedy-oriented declamatory style of an actor so that "La musica altro non essere che la favella" [music is nothing but speech], quoted in Caccini’s preface. Through radical humanism and naturalism in Renaissance, monody became the core of Le nuove musiche so as to clarify the lyrics and to express affections therefore to arouse the passions of the soul.