臺灣箏樂創作的文本背景及音聲概念的變遷

The Musical Context of Taiwan Zheng Music and Its Conceptual Transition

張儷瓊(Li-Chiung Chang) ； 林雅琇(Ya-Hsiu Lin) ； 趙翊樺(Yi-Hua Chao)

《臺灣音樂研究》 20期 (2015/04) Pp. 1-46

摘要

本文檢視箏樂創作的主觀因素和客觀環境；亦即在臺灣文化語境之中，探討箏樂創作文本的形式主體，剖析文本的背景、內容與類型，進行歷史建構、社會維護、個人創造與經驗體會的多方面參照。由「概念」、「行為」、「音聲」的分析模式中，回顧箏樂創作的脈絡和軌跡。臺灣箏樂文本是臺灣音樂的文化資產，也是臺灣箏樂社會的詳實記錄。回顧臺灣箏樂一甲子以來所走過的箏樂創作道路，是歷史經驗的積累，也是社會和文化的交相作用。六十餘年來的臺灣箏樂文本顯示了臺灣箏樂的發展，在特殊的社會、文化語境之下，曾經歷數個階段的轉變：1950－1960年代的萌芽奠基，在1970－1980年代受到文化政策的保護影響，有過繁榮發展的契機；1990－2000年代又在兩岸交流、東西文化交融的趨勢中，產生了創作概念和演奏行為的漸變。就箏樂文本的總體內容而言，眾多個人化的創作文本中，有新舊並陳、有東西交融，更有跨界對話；不一而足。箏樂創作者與時俱進，從不同的角度，以不同的手法反映了因時、因事、因人變化的多元內容。臺灣箏樂長久以來立基於大陸箏樂的文化脈絡之下，緊密依存大陸箏曲的來源，沿用各地箏派的樂曲。然而，文化的表徵因地而異，六十年來臺灣箏人的作品與演奏，反映著一方人們的思維，它們準確突顯出臺灣文化所擁有的特質；一種多元納涵、勇於突破的文化氛圍。綜觀而論，臺灣箏樂的發展仍在持續茁壯，無論是對於傳統的回顧或是跨領域藝術的開發，每一部作品的背後都隱含了獨一無二的意圖與想像，為臺灣箏樂的當代發展不斷開創新的徑路。有鑒於此，本文提出建構臺灣箏樂明確主體的建議，希冀開創具有臺灣風土人文特色的箏樂文本，厚實臺灣箏樂文本主體，更向全球發聲，建構更具有臺灣文化特色的古箏音聲。

關鍵字

臺灣箏樂 ； 箏樂創作 ； 箏樂文本 ； 音聲概念

並列摘要

This article aims to examine the subjective elements and objective surroundings of zheng compositions; in other words, based on Taiwanese Culture, it analyzes composing forms of zheng music, probing into backgrounds, contents and types of that, and further discusses from aspects of historical construction, social maintenance, individual creation and experience. Through the analyzing modes of concept, behavior and sound, it presents a historical retrospect of Taiwan zheng music. Texts of Taiwan zheng music are cultural assets and also documented tracks of Taiwan zheng music. When reviewing the past 60 years, we perceived that the developing path of Taiwan zheng music present a historical accumulation and interaction of society and culture. For 60 years, texts of Taiwan zheng music revealed that the development of Taiwan zheng music, under specific social and cultural surroundings, has experienced several periods: the establishment period of the 1950s- 60s, the thriving time of the 1970s-80s under the wing of cultural policies, and due to the cultural interflow of the cross-strait and between the oriental and western, the 1990s- 2000s of gradual changes concerning composing concepts and performing behaviors. General speaking, among these numerous personalized music texts, some combined tradition with innovation, some mingled oriental essences with western concepts, and others even did crossover cooperation and so on. Keeping paces with times, composers of zheng music, due to different spaces, events and people, reflect respective thought on diverse musical contents with different methods and dimensions. Taiwan zheng music has developed on the cultural foundation of zheng music of the mainland China for a long time. It closely depended on their zheng pieces and kept using pieces from different zheng schools. However, cultural features varied from place to place, for 60 years, the performances and compositions of Taiwan zheng performers have revealed thoughts shaped by this place, and accurately protrude characteristics of Taiwan culture-an eclectic cultural atmosphere with courage to break through. So far, the development of Taiwan zheng music is still advancing, whether the retrospect to the tradition or the development of crossover innovation, every composition has revealed the individual intention and imagination behind, and explored new path for Taiwan zheng music nowadays. Therefore, we further suggest building an explicit identity of Taiwan zheng music, and expect to open up more compositions with Taiwanese features to steady Taiwan zheng music itself, and present the world with zheng music of Taiwan culture.

並列關鍵字

Taiwan zheng music ； zheng composition ； text of zheng music ； musical concept