藝術與技術的辯證：以瑟納基斯的新音樂擊樂作品《反彈》為例

“Art” and “technique” were originally regarded as the same activity in ancient Greek aesthetics. Nonetheless, with the evolution of Western culture, the two gradually diverged into two different sets of norms and even rivaled against each other as aesthetic principles. The tension between the two reached its peak in the 20th century when Theodor W. Adorno explicated this relationship critically in his Philosophy of New Music. He argued that techniques should not develop arbitrarily but serve the art of humanity. In artistic activities, the dynamic process of mutual integration, development and achievement of art and technique is characterized as “dialectic” in this article. The authors focus on Iannis Xenakis’ Rebonds, a percussion piece, which is often labeled “new music”, to elucidate the intrinsic relationships between art and techniques. To create “pure rhythm”, the composer incorporates musical, acoustic, mathematical, physical and physiological techniques and methods to embody “rhythm” through which the audience can experience and perceive “rhythm” on both sensual and cognitive levels. Xenakis’ Rebonds exemplifies the seamless integration of art and techniques, where art is born from technique, and technique rises to art.

新音樂; 藝術與技術; 擊樂; 演奏理論; 瑟納基斯; 《反彈》

new music; art and technique; percussion; performance theory; Iannis Xenakis; Rebonds