黃友棣二首唐宋詩詞獨唱曲探究

前輩作曲家黃友棣，在從事音樂創作近三十年後，1957年秋赴義大利留學，展開六年的音樂進修。此時期在歐洲的學習經驗，啟迪他創作中國風格音樂的想法。依照歐洲「藝術歌曲」樣式、以唐宋詩詞譜曲的十首「藝術新歌」，是黃友棣依據調式理論，嘗試從曲調、和聲、曲式，創作具中國色彩作品的實例。〈江南蝶〉（歐陽修詞）和〈秋花秋蝶〉（白居易詩），是其中兩首詠蝶題材的作品。黃友棣以詩詞吟誦般的歌唱曲調、調式音階的和聲伴奏、連敘歌曲(Durchkomponiertes Lied)的曲式等西洋作曲手法來詮釋中國音樂。在工整有條理的樂曲結構下，調式基礎發展成的曲調，吟唱出獨特的色彩。從單一調式、伴奏變化不多的〈江南蝶〉，到安排段落調式、運用對位技巧、動機運作處理、隨歌詞變換伴奏型式，並結合朗誦、詠嘆歌唱風格的〈秋花秋蝶〉，愈見其以更細膩手法，創作中國風格音樂。從〈江南蝶〉和〈秋花秋蝶〉兩首歌曲，可見黃友棣努力突破其早期創作手法，並顯現出獨特風格。此二嘗試新風格的階段作品，從其曲調、和聲、伴奏、結構、風格等作曲表現和技巧上，可見漸趨成熟與細膩的痕跡。也因為他的努力，創作了具中國風格的樂曲，為中國新音樂的發展，開啟了另一個新的方向。

關鍵字

黃友棣；藝術歌曲；樂曲分析；江南蝶；秋花秋蝶

並列摘要

The senior composer Huang You-Li[黃友棣], after being engaged in music creation for nearly 30 years, went to Italy for a 6-year advanced study of music in 1957. The learning experiences from this period of advanced study in Europe inspired his thoughts for creating Chinese-style new music. According to the style of the European ”art song,” Huang You-Li's ten pieces of ”new art songs,” composed from poetry and prose of the Tang and Song Dynasties, were the verification of the Chinese-style works that he tried to create from melody, harmony, and the modal theory of musical form.The two pieces, Butterflies of Jiangnan[江南蝶], a prose by Ouyan Xiu[歐陽修], and Flowers and Butterflies in Fall[秋花秋蝶], a poem by Bai Ju-yi[白居易], are works about butterflies. They are Chinese music interpreted through the western compositional techniques of singing tunes of recited poetry, harmonic accompaniment of modal scales, and the musical form of Durchkompniertes Lied [連敘歌曲].In neat and orderly musical structures, the tune developed on a modal basis is a unique style of singing. From the monotonous melody and minimal change of accompaniment style in Butterflies of Jiangnan to the arranged modes of phrasing, counterpoint, motif development, changing accompaniment format based on differing lyrics, and combined aria-recitation style singing in Flowers and Butterflies in Fall, Huang You-Li increasingly created a more subtle way of composing Chinese-style music.From Butterflies of Jiangnan and Flowers and Butterflies in Fall, we can see how Huang You-Li made efforts to break through his former compositional approaches to show a unique style. In these two pieces we can clearly see two stages in the developing maturity and delicacy of his melody, harmony, accompaniment, structure, and style. Through these efforts, he created a contemporary style that exhibited a new energy and direction into the development of Chinese new music.