延遲與選擇—從《巴黎樂誌》和許常惠早年的音樂創作試探其現代意識與文化關懷

Delay and Choice-The Conception of Modernity and the Cultural Concern of Hsu Tsang-Houei-Analysis of his Early Writings and Compositions

連憲升(Hsien-Sheng Llen)

《臺灣音樂研究》 7期 (2008/10) Pp. 89-124

https://doi.org/10.29785/FJMR.200810.0004

摘要

1960年代初期，作曲家許常惠〔1929-2001〕於法國留學歸來後出版了一本融合了日記與隨筆散文的《巴黎樂誌》，以率直的筆調和藝術青年獨特的敏感，記載了他在巴黎的音樂學習生活和心路轉折歷程。《巴黎樂誌》不僅是許常惠個人的學習記錄，更是一種奧德賽式的藝術心靈之旅。從初抵巴黎觀察、捕捉、描繪的那種看似鬆散、浪漫，其實蘊含著無比張力的文化氣息，到巴黎大學夏野教授班上領受的學海浩瀚與治學紀律；再從巴黎音樂院梅湘的音樂分析課上印證、加強了他對於德布西的服膺與熱愛，到親炙若立偉學習作曲，從其作品領略了現代音樂的基本性格，激勵了他的作曲衝動。這一切，都讓這位來自臺灣的年輕音樂家一步步地趨近了二十世紀西方音樂的「現代性」精神，奠定了他日後回到臺灣從事創作、教學與研究的基礎，並啟發了他在這些工作之餘的音樂啟蒙與文化交流志業。本文將透過《巴黎樂誌》和許常惠早年相關論述與作品釐清他對於「現代性」的認知，探討他的認知與西方當代「現代性」的內涵是否存在著一定程度的距離？假如這個距離是存在的，那麼，處於如此「延遲」情境的作曲家將如何透過他的論述與創作，乃至於在那封閉的年代裡種種帶有啟蒙意味的社會實踐來抉擇他的藝術道路與文化認同。

關鍵字

許常惠 ； 巴黎 ； 日記 ； 現代性 ； 二十世紀 ； 當代亞洲音樂

並列摘要

In early 1960s, few years after returning from France, the Taiwanese composer Hsu Tsang-Houei (1929-2001) edited his early writings and published them with the title Journal of my life in Paris (1962). In these ”journals” and music essays, Hsu presented his basic artistic interest, his thinking and experience during the study years in Paris, his knowledge about the Western modernity and his concern for the future of Chinese (or Taiwanese) music. In this study, we will first examine Hsu's conception of ”modernity” according to his early writings, and try to find out whether there is any distance between Hsu's conception and that of his contemporaries in the West. If there is a distance, how Hsu Tsang-Houei, being in such a ”delayed” situation, would choose his venue of arts and his cultural identity in his homeland Taiwan by means of his writings, his compositions as well as his somewhat enlightenment-flavored activities in 1960s Taiwan.

並列關鍵字

Hsu Tsang-Houei ； Paris ； Journal ； modernity ； twentieth century ； contemporary Asian music