| Summary: | 碩士 === 國立臺灣大學 === 音樂學研究所 === 106 === Studies of mandarin popular music have long been focusing on issues about lyric analysis, communication phenomenon, social and cultural aspects, while few studies are related to the sound process. In addition, discussions over temporality have increased in recent years, and the music genres being treated include western art music, Asian traditional music, popular music in Europe and America, music in Chinese regions, etc. Among these studies, those related to individual performance, playing or recording of Peking Opera, Erhu and of Chinese zither show that the process of linear and non-linear temporality is associated with the training backgrounds of musicians. Although there are many studies on the temporarity of pop music, no analysis is conducted in terms of musical sound process of contemporary Mandarin popular music from the perspective of temporality.
This thesis analyzes the phenomenon of “linear” and “non-linear” temporarity in Mandarin pop songs with romantic theme in lyrical style, composed by contemporary male singer-composers in various areas. We first observe whether there is a climax in each of these songs, and then analyze and compare processes of temporality in terms of seven parameters (orchestration, tonality, harmony, harmonic rhythm, pitch and melody, rhythm and hyper-rhythm) and five levels (hyper-periods, periods, phrase, unit/bar and single-tone/beat).
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