「五聲回歸」與「五聲遍在」－武滿徹與陳其鋼作品中的古韻與新腔

1977年，武滿徹(1930-1996)在創作了爲宮廷雅樂的《秋庭歌》﹝1973-79﹞的主要段落之後，緊接著完成了《群鳥降臨星形庭園》﹝A flock descends into the pentagonal garden，爲大管絃樂團﹞。這部作品除了呈現出日本笙的和聲結構和傳統「繪卷本」的時空觀對武滿徹的影響，更開啓了他1980年代以降一系列後期作品的回歸五聲音階素材。1991年，陳其鋼(1951-)的《抒情詩Ⅱ》﹙Poème lyrique Ⅱ，爲男中音和小型樂隊﹚則嘗試藉由蘇軾的《水調歌頭》﹝十一世紀，1075年﹞，融合了京劇唱腔﹙十八世紀，1750年﹚、蘇州評彈與西洋美聲法的人聲，和二十世紀現代室內樂寫作的豐富表現力，這三者所構成的「三位一體」﹝la trinité﹞來表達作曲者於創作當時所切身感受的現代人的孤獨感，而統攝此三種不同文化素材的卻是年代更久遠的中國傳統「五聲音階」。在《抒情詩Ⅱ》裡，五聲素材的充分運用更融合了二十世紀德奧傳統的十二音技法與傳承自德布西與梅湘的近代法國和聲，而與武滿徹的「五聲回歸」異曲同工，相互輝映。本文在略述當代亞洲作曲家對五聲音階材料運用的不同態度之後，將嘗試透過武滿徹與陳其鋼這兩部作品的分析討論，來觀察他們如何藉由現代作曲技巧賦予「五聲音階」此一古老素材以嶄新的生命，闡明這兩位亞洲作曲家之音樂構思與寫作技法的異同，並指出他們作品裡的「抒情言志」性格與「雙傳統」觀照在當代亞洲音樂的特殊文化意涵與時代意義。

關鍵字

武滿徹；陳其鋼；羅忠鎔；五聲音階；當代亞洲音樂；現代性；後現代

並列摘要

In 1977, Tôru Takemitsu (1930-1996) created A flock descends into the pentagonal garden. In this work, the composer revealed his will of returning to pentatonicism, the influence of the Japanese shô's harmonic structure and the temporal idea of the emakimono. In 1991, Qigang Chen (1951-) composed Poème Lyrique Ⅱ, in which he combined three cultural elements with the idea of ”trinity”: an eleventh century lyric poem of Su Shi (1075), a particular way of singing which combines eighteenth century Italian bel canto and the declamation of Peking opera (1750), the pingtan of Suchou, plus a twentieth century instrumental ensemble of the western style. In the work of Chen, the successful synthesis of pentatonicism with the dodecaphonic technique and the modern harmony of the French school presented by Debussy and Messiaen makes an excellent echo to that of Takemitsu. In the beginning of this article, the author reviews the history concerning the ambivalence of pentatonicism by several generations of Asian composers. After studying the works of Takemitsu and Chen, the author tries to differentiate the methods of the two composers in using the pentatonic materials and indicate how they link their own cultural lyric traditions with Western modernity in today's ”postmodern” atmosphere.