「前景」、「背景」與「對偶樂念」：談馬水龍男聲合唱與管絃樂曲《無形的神殿》

馬水龍教授創作的男聲合唱與管絃樂作品《無形的神殿》借用詩人李魁賢詩句作為樂曲標題，並採用台灣原住民鄒族與布農族音樂素材，作曲者意圖透過樂曲表達親臨玉山「心中的悸動與感受」。這首作品不是單純的改編曲，因為作曲者剪裁、重組既有的素材，並透過個人音樂語言，描繪眼中所見的影像及抒發心中的感受，同時，樂曲也不是單純地作為詩作的詮釋。然而，聽眾不免好奇：如果這首作品不是單純地將李魁賢詩作轉化為音樂的呈現，那麼樂曲和詩作之間關係為何？如果這首樂曲並不是一首改編的「原住民音樂」，那麼樂曲和作為音樂素材的原住民歌謠之間的關係為何？透過樂曲分析，本文將討論這些問題並試圖了解作曲者如何在獨創性與引用的詩、樂題材之間尋求平衡。

關鍵字

前景／背景；對偶樂念；原住民音樂；馬水龍

並列摘要

”Invisible Temple,” a composition for chorus and orchestra by Professor Ma Shui-Long, having the title derived from a poem of Taiwanese poet Li Kuei-Hsien's and including musical materials of the Tsou and Bunun, two of Taiwanese Aboriginal groups, is aimed to depict the impacts and thoughts resulted from the composer's Mountain Jade hiking. This work is neither simply an interpretation of Li's poem, nor an arrangement based on Aboriginal music, for the composer presents what he saw and thought by piecing together existing materials mixed with his own musical language. However, listeners may wonder: if this piece is not aimed to transform Li's poem into a musical presentation, then what are the relationships between the poem and the musical work? If this work is not an arrangement based on Aboriginal music, then what are the relationships between this work and the Aboriginal songs the composer borrows? By analyzing the work, this paper explore these questions and explain how the composer seeks a balance between creativity and the borrowing of the poem as well as Aboriginal music.

並列關鍵字

Foreground/Background ； Dual Musical Ideas ； Aboriginal music ； Ma Shui-Long

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