<p>在波蘭華沙舉行的第十八屆國際蕭邦鋼琴比賽,經過嚴謹的歷程之後,於2021年10月圓滿落幕。此音樂事件透過數位媒體曝光並產生了熱烈的群眾交流,在古典音樂界形成了一個少見的「極峰群落」,箇中「疆域」、「重複」與「差異」等意象是甚為顯著的現象,同時呼應法國哲學家德勒茲與瓜達里或形上、或美學觀點探索下的概念。本研究透過對2021年蕭邦大賽的現象觀察,從「音樂疆域的形塑」、「根莖的力量與差異的回返」、以及「音樂宇宙性的證成」等面向,回應、探討與批判德勒茲/瓜達里的概念。除了提點其理論盲點,亦為此音樂事件注入另類思考,賦予德勒茲式的啟發性意義。</p> <p>&nbsp;</p><p>The 18th International Chopin Piano Competition, held in Warsaw, Poland, came to a successful conclusion in October 2021 after a rigorous selection process. This music event was broadcast on digital media and generated lively exchanges, forming a rare &quot;climax community&quot; in the classical music world in which &quot;territory,&rdquo; &quot;repetition,&quot; and &quot;difference&quot; describe significant phenomena, and echo the theories developed by the French philosophers Gilles Deleuze (1925-95) and Pierre-F&eacute;lix Guattari (1930-92), either metaphysically or aesthetically. Through detailed observation of the Chopin Piano Competition in 2021, this research responds to, discusses, and criticizes Deleuze/Guattari&rsquo;s theories from the perspectives of &quot;the shaping of musical territory,&quot; &quot;the power of rhizomes and the return of difference,&quot; and &quot;the justification of the cosmic nature of music.&quot; In addition to bringing out some theoretical blind spots, the author also injects alternative thinking into this musical event, endowing it with Deleuzian enlightenment.</p> <p>&nbsp;</p>