法國當代極富盛名的作曲家皮耶‧布列茲（Pierre Boulez, 1925- ），其作品大膽而激進，狂熱而有序，將理性思維與音樂表現完美地結合。由法國音樂的淵源一脈相承，以「序列主義」（Serialism）為起點，走過「完全序列主義」（Total Serialism），布列茲將嚴密的數學構思與個人直覺性的聲響樂念相結合，將序列音樂之手法進行無限的擴展。他的作品不僅追求柏拉圖式的詩意，並且重視內在邏輯性，運用音列技巧的手法豐富多元，表現出極凝鍊的思想特徵，作品《訊息速寫》（Messagesquisse, 1976）即體現了此創作美學觀。
筆者試圖藉由探討布列茲作品《訊息速寫》的作曲手法，分析「六音音組」之素材如何運用於此作品中，以靈活的手法在各段落中呈現不同的姿態。作曲家如何權衡，在限定性素材「六音音組」的框架下，仍保有個人獨特的創作語彙，並在樂曲中達成聽覺與曲式結構上的完美結合。受此影響，筆者將對於「六音音組」語彙之初探心得，轉化落實在自我創作的鋼琴曲中，並進一步拓展個人創作技法之可能性。

The prestigious contemporary French composer Pierre Boulez (b.1925) whose creations are bold, radical, fanatical yet remain order, makes rational thinking and music a perfect combination. Originating from the same strains of French music, beginning with Serialism and passing through Total Serialism, Boulez integrates rigorous mathematical ideas into his intuitive musical composition, enabling the technique of serial music an unlimited expansion. His works involve not only the pursuit of the Platonic ways of composing poetry but also the emphasis on the internal logic and the diversity of applying the serial technique, all of which display condensed ideological characteristics in his pieces – Messagesquisse (1976) reflects this creative and aesthetic outlook.
The author attempts exploring Boulez’s composition techniques in Messagesquisse, analyzing how the element, hexachord is applied, exhibiting its distinctive appearances agilely within the paragraphs, and how the composer balances the uniqueness under the framework of the hexachord so as to achieve a perfect combination between the auditory effect and the form of music. Inspired by his work, the author will incorporate the preliminary results obtaining from the exploration of hexachord, and converts those reflections into the implementation of my piano creation, and then further extends the possibility of personal composing techniques.

【中文專書】

于潤洋。《西方音樂通史》。上海市：上海音樂出版社，2001。

音樂之友社編。《新維也納樂派》。台北市：美樂，2002。

姚恒璐。《二十世紀作曲技法分析》。上海：上海音樂出版，2001。

楊沛仁。《音樂史與欣賞》。台北市：美樂，2007。

趙菁文。 由文化素材與電子音樂技巧探討我近期的音樂創 作。台北：小雅音樂有限公司，2008。

潘世姬。〈阿諾‧荀貝格－尋找十二音列的和聲及曲式統一性（上）〉。《藝術評論》。（第六期，台北：國立台北藝術大學，1995）。

潘世姬。〈阿諾‧荀貝格－尋找十二音列的和聲及曲式統一性（下）〉。《藝術評論》。（第六期，台北：國立台北藝術大學，1995）。

潘皇龍。《現代音樂的焦點》。台北：全音樂譜出版社，1999。

【翻譯專書】

Paul Griffiths,。《現代音樂簡史》（A Concise of Modern Music）。林勝儀　譯。台北：全音，1989。

【外文專書】

Boulez, Pierre. Boulez on music Today, trans. Susan Brashaw and Richard Rodney Benett. Cambridge: Harvard University Press, 1971.

Boulez, Pierre. Leçons de musique (Points de repère III) Textes réunis et établis par Jean-Jacques Nattiez. Paris, Christian Bourgois Éditeur, 2005.

Boulez, Pierre. Stockakings from an Apprenticeship, trans. Stephen Walsh. Oxford: Clarendon Press, 1991.

Campbell, Edward. Boulez, Music and Philosophy. Cambridge University Press, 2010.

Jameux, Dominique. Pierre Boulez Cambridge, Massachusetts: Harvard University
Press, 1991.

Kostka, Stefan. Materials and Techniques of Twentieth-Century Music. New Jersy:
Prentice Hall,1990。

Straus, Joseph Nathan. Stravinsky’s late music. New York:Cambridge University
Press, 2001.

Stacey, Peter F. Boulez and the Modern Concept. England:Scolar Press, 1987.

Stuckenschmidt, Hans Heinz . Musik des 20. Jahrhunderts. Kindler Verlag GmbH, München, 1979.

Whittall, Arnold. Serialism. Cambridge University Press, 2008.

【期刊文章】

Ashby, Arved. "Schoenberg, Boulez, and Twelve-Tone Composition as Ideal Type. " Journal of the American Musicological Society. Vol.54, No.3 (Autumn 2001).

Bonnet, Antonie. "Ecriture and perception: on Messagesquisse by Pierre Boulez. " Contemporary Music Review. Vol.2, Issue 1. (1987) : 173-209.