二十世紀以降，由於經濟的蓬勃發展，社會快速變遷之餘，世人總是顯得徬徨而焦慮。當代藝術家在這全球化的時代尋求突破，音樂家也為創新而發展出諸多前所未見之聲響、素材、音樂技法與記譜。例如，作曲家突破調性的範疇，將音列解構後再重組，逐步出現「半音主義」、「序列音樂」、「全面序列主義」等手法，甚至使用徹底擺脫各種音列規律的「機遇音樂」；而音色方面，除了開發各種樂器的演奏法，「電子音樂」也是當代音樂重要的一環。
作曲家不斷嘗試向極端挑戰以追尋獨一無二的聲音，近年來，作曲家常稱上列這些嶄新的創作手法為「陌生化」，然而，「陌生化」該如何運用，以及是否同字面之意的疏離與陌生，則是本論文欲探究的重點。本論文自「陌生化」之源起出發，從各類當代藝術聚焦音樂，並以「調性開放與旋律、和聲觀」、「樂曲架構觀」、「節奏觀」等三大觀點分析名家作品中「陌生化」的使用，最終回歸到自身創作來分析寫作手法，並討論「陌生化」之意涵及分享研究心得。

Given the background of fast economic development in the 20th century, which leads to people’s anxiety, contemporary artists spare no efforts to provide an escape. In order to fulfill the requirements, musicians work hard to develop various sounds, materials, techniques, and notations which were barely used in the past. Composers especially devote themselves to making a breakthrough in the tonal system and reconstitute the scale formations. Gradually, numbers of techniques such as “chromaticism”, “serial music”, “total serialism” and“electronic music”emerge. “Aleatory music” like tossing a dice and diverse articulations have become essential elements in the contemporary music.
Composers endeavor to produce unique sounds. Those new composing skills are named“defamiliarization.” However, whether the term means unfamiliarity or not and how it is adopted in the music are the main points in the essay. The writer starts with a description of the origin of“defamiliarization”, then followed by an overview on “defamiliarization” used in various arts such as literature, drama, dance, painting, and music. In addition, she focuses on “defamiliarization” in the musical works of the 20th century and analyzes it from three angles: “the opening of the tonality, melody, and harmony”, “the music structure”, as well as “ the rhythm”. Finally, the writer comes back to her own works and redefines the meaning of “defamiliarization” as well as its use.

一、中文書目

Lodge, David.《小說的五十堂課》(The Art of Fiction)。李維拉 譯。新北市：木馬文化出版，2006。

Lynton, Norbert.《現代藝術的故事》(The Story of Modern ART)。楊松鋒 譯。臺北市：聯經，2003。

Messiaen, Olivier.《我的音樂語言的技巧》(Technique de mon language musical)。連憲升 譯。臺北市：中國音樂書房，1992。

Nijinsky, Vaslav.《尼金斯基筆記》(Nijinski Cahiers: Le Sentiment)。劉森堯 譯。臺北市：心靈工坊文化，2002。

朱立元 主編。《西方美學名著提要（上）》。臺北市：昭明，2001。

李立亨。《Dance：我的看舞隨身書》。臺北市：天下遠見，2000。

李詩原。《中國現代音樂：本土與西方的對話—西方現代音樂對中國大陸音樂創作的影響》。上海：上海音樂學院出版社，2004。

李歐梵 編選。《上海的狐步舞：新感覺派小說選》。臺北市：允晨文化，2001。

連憲升。《奧利維亞．梅湘早期生平及其音樂與人格特質》。臺北市：中國音樂書房，1992。

戴維后。《梅湘的音樂—分析「時間的色彩」》。 臺北：全音樂譜出版社，1990。

蕭慶瑜。《梅湘「二十個對聖嬰耶穌的注視」之研究》。臺北市：四章堂文化事業公司，2002。

二、西文書目

Adler Samuel. The Study of Orchestration. 3rd ed. New York: W. W. Norton & Company, 2002.

Burkholder, J. Peter, Donald Jay Grout, and Claude V. Palisca. A History of Western Music. 7th ed. New York: W. W. Norton & Company, 2006.

Griffiths, Paul. Olivier Messiaen and the Music of Time. New York: Cornell University Press, 1985.

Kostka , Stefan. Materials and Techniques of Twentieth-Century Music. New Jersey: Prentice Hall, 2005.

Morgan P., Robert. Twentieth-Century Music. New York: W. W. Norton, 1992.

Sholl, Robert, ed. Messiaen studies. New York: Cambridge University Press, 2007.

Straus, Joseph Nathan. Introduction to Post-Tonal Theory. Prentice Hall, 2nd ed.. New Jersey: Prentice-Hall, 1990.

Taylor, Timothy D. Strange Sounds: Music, Technology and Culture. New York and London: Routledge, 2001.

Watkins, Glenn. Soundings: Music in the Twentieth Century. New York: Schirmer Books, 1988.

Webern, Anton von. The Path to the New Music. ed. W. Reich, trans. L. Black. London: Universal Edition, 1975.

三、中文期刊論文

陳平。〈布萊希特與亞陶—其劇場理論之研究〉。中國文化大學碩士論文，2000。

連憲升。〈時間的終結 — 梅湘的音樂語言及其初期節奏體系之形成〉。國立臺灣師範大學碩士論文，1991。

張俊彥。〈感動的消逝—二十世紀嚴肅音樂技巧與情感抽離的再思〉。國立臺灣師範大學碩士論文，2009。

潘皇龍。〈音響意境音樂創作的理念〉。《藝術評論》，第六期（1995）：117-136。

四、英文期刊論文

Benitez, Vincent P. “Reconsidering Messiaen as serialist.” Music Analysis 28 (July 2009): 267-299.

Sprout, Leslie A. “For the end of time: The story of the Messiaen quartet.” Notes:Quarterly Journal of the Music Library Association 61, no.2 (December 2004): 423-425.

Stubbs, David. “Fear of music: Why people get Rothko but don't get Stockhausen.” Notes:Quarterly Journal of the Music Library Association 67, no.1 (September 2010): 105-107.