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

The Dialectics Between Art and Technique in New Music: The Example of Rebonds by Iannis Xenakis

「藝術」與「技術」在古希臘時期原被視為同一種活動，然而隨著西方文化的發展，此二者逐漸分化，甚至形成對立的關係。這兩者之間的張力到了二十世紀發展到了一個頂峰，而阿多諾的《新音樂哲學》則批判性地闡釋了這種關係：技術不應任意地發展，而應該為人性的藝術服務。在藝術活動中，藝術與技術的互相交融、發展與成就的動態過程，本文將其稱之為「辯證」，並且以瑟納基斯的新音樂擊樂作品《反彈》為分析的實例。在該作品中，作曲家為了探尋「純粹節奏」，運用了各種音樂、音響、數學的、物理的和生理的技術和手段，將純粹節奏具象化地呈現出來，而觀眾透過這些呈顯，在感官上和理性上對於「節奏」也有更深的體悟。該作品體現出藝術與技術的緊密交融，藝術由技術而生，而技術也上升為藝術。

“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.