傳統、流變與再生—從文化涵化視角論東亞當代箏樂創作

Abstract

本篇論文研究主體為「東亞當代箏樂創作」，以中國作曲家徐曉林（1943-）、王建民（1956- ）、臺灣作曲家潘皇龍（1945- ）、李志純（1970- ）、日本作曲家三木稔（Minoru Miki，1930- 2011）等五位專業作曲家的箏樂創作為研究範圍。他們秉持創新求變的使命，在不同的地域、時空背景下，建立起個人獨特的創作語言，為古箏器樂表現開創新的篇章，音樂風格與前期箏樂創作階段迥然不同。

本文從文化涵化的視角進行研究，依序探討傳統、流變、與再生三個縱向性的發展過程。在第二章「東亞箏樂的傳統形貌」中，聚焦探討尚未與西方音樂涵化前的箏樂形貌，包括尚存的箏藝流派、樂器型制與記譜，以期與涵化結果做鮮明對照。除此之外，延伸說明近現代創作的發展概要，辨清研究主題所處的歷史定位。

第三章「當代箏樂創作的涵化過程」，分別對五位作曲家所處的社會環境、接受的教育背景進行觀察，陳述與歸納個人的創作理念與手法，並實際分析箏樂作品。第四章「當代箏樂創作語法的擴充」，進一步對變化加以解釋，探討箏樂傳統與異文化之間，「橫向性」的融合程度和創作語法擴充的作法。

在第五章「現代箏樂記譜符號之建構」中，將箏樂演奏指法融入西歐器樂記譜法的分類概念中，以本文研究的五位作曲家箏曲作為分析與舉例，期望重整與建構適用的箏樂記譜符號，供未來創作者、演奏者與研究者參考與應用。

The research subject of this thesis is “East Asian Contemporary Zheng Compositions”. The scope of the study covers zheng compositions of five professional composers: Xiao-Ling Xu (1943-) and Jian-Min Wang (1956- ) of China; Hwang-Long Pan (1945- ) and Chihchun Chi-sun Lee (1970- ) of Taiwan; and Minoru Miki (1930-2011) of Japan. From different regions and periods, they upheld creative faith and established personal, unique composing language. They initiated new features for zheng music, and their music styles distinguished from the earlier era.

This study proceeded from the perspective of acculturation to discuss three vertical developments successively: tradition, evolution and regeneration. In Chapter Ⅱ “East Asian traditional characters”, the study introduces the traditional zheng music style before it acculturated with western music, covering factions of zheng art still alive and structures of instrumentation and notations to compare and contrast with results of acculturation. The study then proceeds to interpret the development of modern compositions and to distinguish the historical position of this research subject.

Chapter Ⅲ ”Acculturation process of contemporary zheng compositions ” discusses the five composers’ social backgrounds and educational processes, summarizes their personal composing ideas and techniques, and analyzes their zheng compositions. Chapter Ⅳ “Expanding syntax of contemporary zheng compositions” further explains the variation and discusses the horizontal integration between zheng tradition and different cultures.

Chapter Ⅴ “Construction of contemporary zheng music notation” places zheng performing techniques into western instrumental notation concepts, and gives composition examples of the five composers. This construction and reintegration of contemporary zheng music notation is trusted to be useful for future zheng composers, musicians, and researchers.