論彼得·阿布靈格鋼琴音樂中基於現象學感知的表演

論彼得·阿布靈格鋼琴音樂中基於現象學感知的表演

吳蝶蘭 高拂曉

摘 要：自 20 世紀分析哲學轉向後，維特根斯坦打破語言與音樂的簡單二分，將音樂視為“不可言說”的獨立表達嵌入人類行為網絡。奧地利作曲家阿布靈格自 1998 年創作的《人聲與鋼琴》系列，以歷史名人廣播錄音為人聲素材，鋼琴樂譜則源自對錄音的光譜分析數據，同步演奏中鋼琴扮演著實時感知、評論與對比的角色。表演者不再是被動接收聲音，而是將感知視為意識主動具身地與世界照面的體驗，成為語言的直接觀察者與注釋者。本文選取該系列中《皮娜·鮑什》《馬歇爾·杜尚》《莫頓·費爾德曼》三首，論述人聲中潛在的音樂性及語義投射之前與之外的美學內涵，同時闡釋樂譜作為開放性腳本而非封閉系統，以及基於現象學式感知的表演如何成為主動的文化實踐與意義創造過程。

關鍵字：表演研究 表演詮釋 現象學感知 鋼琴音樂 彼得·阿布靈格

Phenomenological Perception-Based Performance in Peter Ablinger’s Piano Music

WU Dielan GAO Fuxiao

Abstract: Following the linguistic turn in twentieth-century analytic philosophy, Ludwig Wittgenstein broke away from the simple binary opposition between language and music, characterizing music as an “unspeakable” (ineffable) independent form of e­xpression embedded within the web of human actions. Since 1998, Austrian composer Peter Ablinger has been creating his series Voices and Piano, which utilizes historical recordings of prominent figures as vocal source material, with piano score extracted from the spectral analysis data of these recordings. Within the framework of simultaneous performance, the piano assumes the function of real-time perception, commentary, and juxtaposition. The performer is no longer a passive recipient of sound, but an experience wherein consciousness actively becomes embodied and encounters the world — thereby becoming a direct observer and interpreter of language. Selecting three pieces from this series—Pina Bausch, Marcel Duchamp, and Morton Feldman — this paper discusses the latent musicality in the human voice, as well as the aesthetic connotations both prior to and beyond semantic projection. Concurrently, it explicates how musical score serves as an open text rather than a closed system, and demonstrates how performance grounded in phenomenological perception becomes an active cultural practice and a process of meaning generation. 

Key words: Performance Studies; Performance Interpretation; Phenomenological Perception; Piano Music; Peter Ablinger

DOI：10.68079/morwysyj.2026.3.05  【原文下載】【Download PDF】