摘 要
歷史的發展是多元因素所造成，任何作曲風格或是手法亦非單一的事件可造成。對於「機遇音樂」而言，它的發展有許多脈絡可循，它的意義與概念相對地在音樂史的發展過程中，也產生許多值得探討與研究的價值。根據新葛羅夫音樂辭典的解釋，「機遇音樂」是「作曲者在對於作品或是對表演者所展現的不確定性」， 亦即只要在作品當中，包括創作或是演出包含了所謂的「不確定性」，就是「機遇音樂」。「不確定性」是一種音樂因素裡的一個概念，在這個概念下，演奏者的「即興」與創作者的「不確定性」，都可歸為「機遇音樂」，其包含的對象有：作曲者，表演者即興，作曲者隨機創作與表演者即興演奏。前者是指「對於作曲者而言，在創作的過程當中，以不確定（indeterminacy）的方法或是加入了隨機（chance）的手法而完成的作品」；其次是指「作曲者的作品中，提示了數種可供表演者選擇的素材或是方向」；最後是指「作曲者與演奏者均是隨機的一部分」，例如在樂譜上隨性的一筆劃，或是一個圖形，或是文字，或是其他的符號，再由演奏者揣摩並即興演出。
本論文研究的目的在於探究「機遇音樂」的意義、歷史淵源、哲學背景、美學價值，以及在廿世紀作曲家表現的手法及其記譜方式。全文共分文五章，包括第一章緒論，陳述了論文的架構；第二章探討「機遇音樂」的意義、歷史淵源、哲學背景、美學價值、作曲家表現的手法及記譜方式；第三章選擇五首分別屬於不同國籍的作曲家的作品，這些作曲家及其作品分別是1、凱基（John Cage, 1912 ~ 1992）：「變遷的音樂」（Music of Changes）；2、史托克豪森（Karlheinz Stockhausen, 1928~）：「節拍」（Zeitmasse）；3、布列茲（Pierre Boulez, 1925~）：「第三號鋼琴奏鳴曲之第二樂章—插句」（Troisième sonate pour piano-formant 2-trope）；4、陸透斯拉夫斯基（Witold Lutoslawski, 1913-1994）：「弦樂四重奏」（String Quartet）；5、菩瑟（Henri Poussuer, 1929~）：「活字印刷」（Caractères）。第四章是以個人創作作品作為分析，並實踐「機遇音樂」的精神與手法；第五章則為此論文之結論。
「機遇音樂」的記譜法隨著時代的變遷、作曲觀念與手法的突破，產生了微妙變化。創作的人不僅僅是作曲者，詮釋的人也不一定是演奏者，而聽眾則有可能直接參與創作的過程。在創作與演奏的過程中，「隨機」（chance）經常主宰著一切，縱使「機遇音樂」的發揚光大是在1950年代之後，但是在音樂歷史的軌跡中，「機遇音樂」的精神早出現在九世紀的奧干農（organum）、巴洛克時期的裝飾音以及古典時期的裝飾奏（cadenza），甚至十八世紀後半葉到十九世紀前半葉這一百年間，在歐洲的許多城市更掀起的了一波「骰子遊戲音樂」（Musikalische Würfelspiele）的熱潮。
因此筆者希望藉著本研究能夠理解「機遇音樂」的背景、精神以及手法，並將「隨機」與「控制」的方法與心得運用在個人的創作作品中，豐富自己在創作上的語彙與表達，並賦予音樂無止境的生命力。

Abstract
The development of a history is made from multiple factors, and by no means does a single factor make any style or skill of music-composing. To “aleatory music”, we have a lot to trace to its development. Relatively, its meaning and conception, in course of the development of music history, cause much to be worthy of being explored and studied. Based on The New Grove Dictionary of Music and Musicians, “aleatory music” is, “A composer shows indeterminacy on his work or some performer”; it is inclusive of the original work or the performance containing the so-called “indeterminacy”. “Indeterminacy” is a concept in some factors of music, under which the performer’s improvisation” and the originator’s “indeterminacy” can belong to “aleatory music”, consisting of the composer, the performer’s extemporization, the composer’s casual work and the performer’s improvisation. The former refers to “To the composer, he accomplishes his work with indeterminacy or by adding some chance skill in course of his origination.” Next comes to “In the composer’s work, it offers some sorts of themes and directions for the composer to choose among.” Last but not least, it refers to “The composer and the performer are part of chance”. For instance, the composer may have some casual number of strokes in a character, or a figure, or a letter, or some other mark, then the performer tries to guess it and has an improvisation.
The purpose of the research of my thesis is to explore the meaning of “aleatory music”, its history origin, its philosophy background, its esthetics value, and the skill and notation that the composers represented in the twentieth century. This thesis is divided into five chapters. Chapter One, Introduction, mentions the structure of this thesis. In Chapter Two, I try to explore the meaning of “aleatory music”, its history origin, its philosophy background, its esthetics value, and the skill and notation. In Chapter Three, I choose five pieces of work respectively ; the composers and the works respectively :
1、 John Cage（1912 ~ 1992）: Music of Changes
2、 Karlheinz Stockhausen（1928~）: Zeitmasse
3、 Pierre Boulez,（1925~）: Troisième sonate pour piano-formant 2-trope
4、 Witold Lutoslawski（1913-1994）: String Quartet
5、 Henri Poussuer（1929~）: Caractères
In Chapter Four, I try to analyze the original work of my own and put into practice the spirit and skill of writing “aleatory music”. Chapter Five, the last one, is the conclusion of my thesis.
In the wake of the time change and the break-through of the concept and skill of music writing, the notation of “aleatory music” has given rise to some subtle change. An originator is not just a composer, and the person who explains the work is not necessarily a performer, but there is possibility of the audience to directly participate in the process of the origination. In course of origination and performance, “chance” always has everything in charge. Even though, after1950, “aleatory music” was made glorious, in the locus of music history, the spirit of “aleatory music” had appeared in Organum of the ninth century, the grace note of the period. Not until the latter half of 18th century and the first half of 19th century, during the one hundred years, did many cities in Europe arise great fanaticism of Musikalische Würfwlspiele.
From the above mention, I, as writer of this thesis, do hope to make the most of it to help understand much better of the background, the spirit and writing skill of “aleatory”. In addition, I will use “chance”, the way of “control”, and what I have gained from the intense study in my personal original work, enrich my own vocabulary and expression in my origination and finally endow music with endless life.

參考書目
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網際網路資料
http://www.cyberhymnal.org/bio/h/a/y/hayes_w.htm
http://www.soundart.org/whllrmnn.html
http://216.239.37.104/translate_c?hl=en&u=http://www.schott-music.com/wuerfelspiele/tabelle.htm
http://www.sciencenews.org/20010825/mathtrek.asp
http://www.asahi-net.or.jp/~rb5h-ngc/e/k516f.htm
http://www.lovely.com/bios/tudor.html
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