| Abstract: | 因為在音量、音色、與速度上技巧擴展的關係，克倫姆鋼琴獨奏曲產生出樂團與室內樂之效果，克倫姆所使用之方式包括使用擴音器將音量增大、具想像力而清楚的指示如何在琴弦、踏板、和鋼琴架構發出不同之聲音，同時使用外來材料加於琴弦，人聲效果，並且非常嚴謹的控制速度和音量，這些不尋常的彈奏技巧包括使用手指產生非傳統之鋼琴音色，例如：撥弦(pizzicatos)、泛音(harmonics)、弱音(muting)和滅音(damping)、弦上之滑奏 (glissando)、鐘奏(martellato)、弦上彈奏顫音與震音、刮弦、敲擊共鳴板(soundboard)、巧妙加置物件於弦上，例如使用鍊子(chain)、裁縫用頂針(thimble)、無腳玻璃杯(tumblers)、迴紋針、紙張、鐵絲刷子和撥子(plectra)、和使用人聲之效果，使用的方式包括歌唱、哼唱、口哨、說話、耳語和鼻音唱哥。由於許多考量之因素，因此產生一些在實際演奏之問題，包括如何選擇合適，可以演出克倫姆作品的鋼琴、如何在弦上和置音器上作記號、如何選擇適合之擴音器材及選擇最佳擴音位置、演出時應站立或坐下、衣著之選擇，並考慮是否運用特殊燈光效果等等。克倫姆為鋼琴音樂打開寬廣的視野，他的音樂深具想像力、抒情性，美麗而純粹音樂上之衝擊，這不只擴展聲音上美學之價值，同時也為二十一世紀打開音樂藝術之視野。
Because of a wide rage of sound, timbre, tempo and dynamics, Crumb's piano music produce an orchestral sound or chamber music quality. Amplification of sound, imaginative manipulations of strings pedal and frame, use of foreign materials and vocal effects, and tight control of tempo and dynamics contribute to this. The unconventional technique include: producing unconventional sounds on the strings with hands, such as pizzicatos, harmonics, muting and damping strings, martellato, trill and tremolo on strings, scraping strings glissandos on strings, striking the soundboard. He also manipulates objects on the strings, such as a chain, thimbles, tumblers, paperclips, paper, brush and plectra. Crumb in two volumes of Makrokosmos uses vocal and effects such as whistling, talking, humming, whispering, nasal singing and so on. Certain practical considerations on performance have to be considered, such as choosing a piano on which these works can be performed, deciding on a method of marking dampers and strings, selecting clothes determining the best amplification equipment, considering whether or not to stand, and deciding if lighting effects are desired. Crumb's music has opened up new dimensions in piano music. It has a quality of imagination, lyrical, beauty and genuine musical impulse. His music not only enhances the aesthetic values of sounds but also enlarges our sensibilities and vision for twenty-first century musical arts. |
