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多元音樂文化融合概念與聽覺認知:「歷史時代風格演譯」於臺灣交流所呈現的議題

Historical Informed Performance Research in Taiwan: Topics on Intercultural Performance and Aesthetic Taste in Auditory Perception

Abstracts


「歷史時代風格演譯」(Historical Informed Performance)簡稱為「歷史演譯」(HIP)。其背景來自於1980年代開始在歐洲與美國古典音樂界盛行的復古風潮,其建構內容乃是從二十世紀中期直至二十一世紀的今日,各界持續激烈討論的議題,因此過程中以各式的名稱呈現。不同於英國與歐陸趨向於推廣歐洲古樂傳統之導向,「歷史演譯」在美國所建構的知識概念,不僅在演奏層面上建立研究方法,並同時著重以傳統音樂美感的演譯實踐,以及當代音樂家在面對古今時易世變所展現的風格議題。本文以「歷史演譯」文獻考證與「時代樂器」重建過去某個時代的音樂風格之方法,運用於大鍵琴樂器與臺灣多元的民族樂器以及中華文化傳統樂器的交流融合,透過不同音樂文化在演奏形式與音樂美感傳承間的相似與相異性,討論多元音樂文化在融合時需要解決的首要議題。包括釐清文化與領域融合的概念,以及聽覺認知中關於音感認知訓練、泛音與音律的應用、與聽覺品味的培養。

Parallel abstracts


This paper presents the background and methodologies employed in intercultural projects conducted in Taiwan from 2019 to 2021, carried out through Project Cadenzas. This program embraces historically informed performance practice (HIP) to articulate traditional cultural contexts and express creativity through musical performances. Recognizing the need for more consistent Chinese translation for HIP, this paper offers Chinese readers a comprehensive definition and explanation. Furthermore, the paper addresses two primary issues encountered in directing intercultural performances: collaboration between the harpsichord and diverse Chinese traditional instruments, Chinese period instruments, and an aboriginal Taiwanese nose flute. These issues encompass the definition of inter- and cross-relationships between disciplines and cultures and the variations in aesthetic taste within auditory perception. The paper suggests that a deeper understanding of overtone, timbre, tuning methods, and temperaments is crucial for developing inter- and cross-cultural musical performances, supplementing current aural training.

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