電影配樂從後浪漫時期跟發展至今，風格百花齊放，從管弦樂到電子樂，都能在現今電影中尋得。然後，當我們於當今電影之中，談論配樂手法時，似乎大多是以陪襯或形容的方式，運作在影像結構之中，為劇意提供不同維度的感官支撐。

這不禁讓筆者好奇，一般敘事電影中，是否擁有讓音樂主導的可能？

筆者嘗試以研究1960年代的兩部電影與其配樂的關聯，從《怪談》使用具象音樂的手法，以至《2001太空漫遊》對於古典音樂片段的選擇與使用。筆者以作曲家、或導演的不同視角來觀察並論述，最終試圖應用所學，反映在自身的新創作品《此時此刻...》之中，並期望從中一窺未來聲音與影像之間對話的多重角色關聯。

From the post-romantic period to the present, film music has developed in a variety of styles, which crossing from acoustic orchestra music to the electronic music, both can be found in today's film socre fomula easily. However, when we talk about music technique in today's movies, It seems that most of them operate in the image structure in the way of foil or description, providing sensory support of different dimensions for the meaning of the drama.

Out of curiosity, is there a chance that a movie could lead by music from the fundamental level in general narrative films?

This thesis begins with analysis of relationship between two films in the 1960s and their soundtracks: the use of musique concrète in Kwaidan to the selection and use of classical music fragments in 2001: A Space Odyssey. The author, CHEN, Yu-Sheng, observes and discusses from different perspectives of composers and directors, and finally tries to apply what author has learned to reflect it in the new work At This Moment..., hoping to have a glimpse of the multi-role relationship between sound and image in the future.

一、書籍
武滿徹。《武満徹全集 第3卷－映画音楽(1)》。小學館。2003。
焦雄屏。《法國電影新浪潮》。蓋亞文化。2020。
David Bordwell. and Kristin Thompson.《電影的藝術—形式與風格》(Film art : an introduction)
曾偉禎 譯。McGraw-Hill。2013。
Igor Stravinsky. Poetics of Music in the Form of Six Lessons. Harvard University Press, 1970.
Michel Chion. Audio-Vision: Sound on Screen. Columbia University Press, 1994.
─────. Kubrick's Cinema Odyssey. British Film Institute, 2000.
Peter Burt. The Music of Toru Takemitsu. Cambridge University Press, 2009.
Toru Takemitsu. Confronting Silence: Selected Writings. Scarecrow Press, 1995.

二、學術論文
劉嫣。〈武滿徹電影配樂的理論研究－以電影《怪談》和《亂》為例〉。上海音樂學院碩
士論文。2010。
Mikiko Sakamoto. Takemitsu and the Influence of "Cage Shock": Transforming the Japanese Ideology into Music. Proquest, Umi Dissertation Publishing, 2010.

三、學術期刊
小泉恭子。Creative Soundtrack Expression: Tôru Takemitsu's Soundtrack for 'Kwaidan'. Terror
Tracks: Music, Sound and Horror Cinema (Edited by Philip Hayward). Equinox, 2009

楊秀瑩。〈武滿徹之音樂美學觀──以大自然為素材之作品為例〉。《關渡音樂學刊》
No.15 (2011): 47-70。
────。〈武滿徹電影音樂美學初探-以1960年代的《切腹》和《怪談》為例〉。《關渡
音樂學刊》No.25 (2017): 53-82。

四、電影資料
小林正樹。(1965)。東寶：怪談。
敕使河原宏。(1962)。東寶：沙丘之女。
黑澤明。(1990)。華納兄弟：夢。
黃邦銓。(2017)。回程列車。
───。(2018)。去年火車經過的時候。
Charlotte Zwerin。(1994)。Les Films d'Ici, NHK, La Sept-Arte, Alternate Current: Music for
Movies: Toru Takemitsu。
Godfrey Reggio。(1982)。Island Alive, New Cinema: 機械生活 (Koyaanisqatsi)。
Stanley Kubrick。(1968)。米高梅。2001太空漫遊 (2001: A Space Odyssey)
───。(1971)。華納兄弟。發條橘子 (A Clockwork Orange)
───。(1980)。華納兄弟。鬼店 (The Shining)
───。(1999)。華納兄弟。大開眼界 (Eyes Wide Shut)

五、網路資料
舒明。小林正樹的《怪談》。
https://www.filmcritics.org.hk/zh-
hant/%E9%9B%BB%E5%BD%B1%E8%A9%95%E8%AB%96/%E6%9C%83%E5%93%A1%E5%BD%B1%E8%A9%95/%E5%B0%8F%E6%9E%97%E6%AD%A3%E6%A8%B9%E7%9A%84%E3%80%8A%E6%80%AA%E8%AB%87%E3%80%8B
摘錄於2021年6月5日
Alan Westby. The Music of Tôru Takemitsu and Japanese New Wave Cinema.
https://www.lapl.org/collections-resources/blogs/lapl/music-toru-takemitsu-and-japanese-
new-wave-cinema
摘錄於2021年6月7日