說唱音樂素材在古箏作品中的運用──以《晨興》、《儂》為例

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dc.contributor賴秀綢zh_TW
dc.contributor張儷瓊zh_TW
dc.contributorLai, Hsiu-Chouen_US
dc.contributorChang, Li-Chiungen_US
dc.contributor.author王識寬zh_TW
dc.contributor.authorWANG, SHIH-KUANen_US
dc.date.accessioned2022-06-08T02:39:26Z
dc.date.available2021-10-23
dc.date.available2022-06-08T02:39:26Z
dc.date.issued2021
dc.description.abstract說唱音樂與古箏音樂關係密切，早期在民間傳統箏樂領域，山東箏派受山東琴書影響，河南箏派則源於河南大調曲子；在當今箏樂創作領域中，亦不乏使用說唱音樂作為元素的作品。本文選用以說唱音樂為素材的箏曲作為研究對象，以使用京韻大鼓為元素創作的《晨興》和使用蘇州彈詞為元素創作的《儂》二首樂曲作為主要研究對象。首先透過文獻回顧入手，介紹京韻大鼓與蘇州彈詞的音樂特徵，再透過分析樂曲的音階、調式、織度、技法等面向，深入剖析《晨興》、《儂》二首箏樂作品與說唱音樂間的連結。研究結果顯示，陳哲將京韻大鼓名段《丑末寅初》唱腔與過門素材寫進《晨興》中，以大量的左手作韻技巧體現古箏音韻之美，並巧妙的將古箏與鋼琴旋律相互編織，形成流暢而富有說唱音樂語韻特點表徵。劉樂運用了蘇州彈詞中的過門樂段旋律作為《儂》的樂曲動機，雖未使用唱段旋律，但仍有蘇州彈詞韻味，並且在樂曲中多處藉由中國五聲音階與七、九和弦交替使用，體現了今人對於傳統江南與現代上海聲景的詮釋與體會。zh_TW
dc.description.abstractChinese narrative music is relevant to guzheng music. In the early era of zheng music history, the traditional Shandong zheng music was influenced by Shandong Qin Shu. Moreover, the traditional Henan zheng music was enriched with Henan Da Diao Qu. Nowadays, Chinese narrative music is also applied to compositions of guzheng music.This study probes into two pieces that applied Chinese narrative music to the composition. “Chen Xing” took excerpts from Jing Yun Da Gu, and “Nong” extracted a short part of Suzhou Tan Ci as the core element. Firstly, through literature review, the study introduces the musical characteristics of Jingyun Da Gu and Suzhou Tan Ci, and then analyzes the connection between the two pieces with Chinese narrative music by analyzing the scales, modes, texture, techniques and other aspects of the music.The research result reflects that Chen Zhe used the melody of the singing part and the accompaniment part of “Chou Muo Yin Chu”─one of the most famous pieces of Jing Yun Da Gu─in “Chen Xing”, and used plenty of left-hand techniques to reflect the pleasant timbre of guzheng. Additionally, the composer strategically wove the guzheng and piano melodies to create a fluent and rhythmic piece of Chinese narrative music. On the other hand, Liu Le used the melody of the passage section in Suzhou Tan Ci as the motive of"Nong", although it did not use the melody of the singing part, it still retained the charm of Suzhou Tan Ci. In addition, the Chinese pentatonic scale and the seventh and ninth chords were alternately used in many places in “Nong”, so that the piece embodied the interpretation applied to the traditional Jiangnan and modern Shanghai soundscape.en_US
dc.description.sponsorship民族音樂研究所zh_TW
dc.identifier60791006M-40481
dc.identifier.urihttps://etds.lib.ntnu.edu.tw/thesis/detail/e560004fee16dda570bef7c77a259d1a/
dc.identifier.urihttp://rportal.lib.ntnu.edu.tw/handle/20.500.12235/117097
dc.language中文
dc.subject說唱音樂zh_TW
dc.subject陳哲zh_TW
dc.subject劉樂zh_TW
dc.subject晨興zh_TW
dc.subject儂zh_TW
dc.subjectChinese narrative musicen_US
dc.subjectChen Zheen_US
dc.subjectLiu Leen_US
dc.subjectChen Xingen_US
dc.subjectNongen_US
dc.title說唱音樂素材在古箏作品中的運用──以《晨興》、《儂》為例zh_TW
dc.titleThe Application of Narrative Music Materials in Guzheng Compositions:"Chen Xing" and "Nong"en_US
dc.type作品連同書面報告（藝術類）

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