從《丟丟銅仔》到《阮若打開心內的門窗》－試談呂泉生早期的民歌編曲、歌曲創作和他的鄉土關懷

From "Pitter-patter" till "If I Open the Doors of My Heart"-A Study on Lu, Chuan-Sheng's Early Folksong Arrangements, His Creation of Songs, and His Concern for the Homeland

連憲升(Hsien-Sheng Lien)

《臺灣音樂研究》 5期 (2007/10) Pp. 47-75

https://doi.org/10.29785/FJMR.200710.0003

摘要

二十世紀前葉，台灣西式新音樂的創作最初僅零星見於陳泗治等具有長老教會背景的音樂家，其作品之發表對象多限於作曲家日常工作、活動的教育和宗教社群，而少及於一般人民群眾，發揮廣泛的社會文化影響。日本殖民統治末期，呂泉生於1942年因父喪自東京返回台灣，隨即展開他畢生奉獻於斯的編曲、作曲，音樂教育與文化推廣工作。在二戰末期與戰後台灣動盪的政治社會變遷與國族認同移轉的年代，呂泉生的歌謠編曲與創作活動，非但為他個人建立了作曲家的信心與地位，他的許多作品在台灣人的音樂生活中更扮演著銜接嚴肅與流行音樂的功能。1945年，呂泉生在該年三月號的《台灣時報》上發表了一篇題為〈音樂隨感－台灣の音樂と生活〉的文章，文中除了對於台灣人現實生活中世俗化的音樂活動提出了針貶，也期許台灣的詩人與音樂家能夠將素樸卻蘊含著豐富情感的台灣民語從世俗化的卑猥深淵裡拯救出來。本文首先回溯呂泉生自日本返回台灣，從日治末期到光復後十數年間的動盪時局下所展開的音樂活動，再分別以他改編自台灣原住民與漢族民間歌謠的歌曲以及他最早開始從事創作活動的幾首著名作品為對象，從音樂文本的變形與再現、文本互涉等角度來探討呂泉生早年的民歌編曲與音樂創作的美學價值，並參酌相關文獻記載與音樂學論述，嘗試探討這些作品在二十世紀台灣近代化進程中的特殊意涵。

關鍵字

呂泉生 ； 台灣民謠 ； 作曲 ； 文本互涉 ； 近代性 ； 二十世紀音樂

並列摘要

Since the early 1940s, Lu Chuan-Sheng (1916-) bas spent nearly his entire life introducing and arranging songs from all over the world, creating songs for children, amateur and professional musicians, and promoting musical education as well as cultural movements in Taiwan. In comparison, some Taiwanese composers, like the Presbyterian Protestant musician Chen Si-Chi (1911-1992), mainly worked for churches and schools without having much of a social impact or cultural influence on the ordinary people of Taiwan. In the year 1942, after of the death of his father, Lu returned to Taiwan from Tokyo during the last years of the Japanese colonization in Taiwan. In a very short time, he became famous as a singer, conductor and composer. Since Lu's lyrical melodies and the poetic texts were based on his knowledge of the Taiwanese languages and his sensitivity of the social climate, his works not only enriched the repertoire of the western musical compositions in the island, but also built a bridge between classic and pop music at that time. These particular works were created around 1945, the year of unstable transition for both the political regime and the national identities in Taiwan. So far, quite a few of the publications concerning Lu's compositions have appeared one after another. However, there is still room for both the analysis of his music and discussions about the social and cultural meanings of his works. In this paper, after narrating the histories of his works and providing brief analysis on his songs, either arranged or created, we will try to explore the reasons of Lu's success in arranging the Taiwanese Fulau, aborigine folksongs, by means of either the inauthentic notations by his music senior or the immature fieldwork by himself. Then we will expose the undiscovered inspirations from European classical music in Lu's songs and reevaluate his works from cultural, aesthetic and historical points of view.

並列關鍵字

Lu Chuan-Sheng ； Taiwanese folksong ； composition ； inter-textuality ； modernity ； twenty-century music