- 期刊
我泥中有你，你泥中有我－論「現代主義」與「後現代主義」在當代音樂中的邂逅與發酵
On the Encounter and Ferment of Modernism and Post-Modernism in Contemporary Music
摘要
處於快速全球化與資訊化的現代社會中，當代音樂發展面臨前所未有的衝擊與挑戰。不論在理念或實踐上，當代音樂所呈現的多元性不但讓人難以掌握，其根源自傳統、又叛逆於傳統的「現代／後現代」特質，更使其已是小眾之小眾的欣賞者吃足了苦頭。當代音樂常被詮釋為當代人所創作的現代音樂或現代主義的音樂，但其所呈現出的無所不包、無可辨識的無統一風格，更可謂是後現代主義的綜合體。後現代並非時間意涵上的現代之後，它是一股存在於現代中的反動、質疑、與自我批判的力量；有了這股力量，現代的顛覆、創新與反權威精神才得以彰顯。現代主義與後現代主義在當代音樂中邂逅，兩者不斷進行有機的發酵，形成「我泥中有你、你泥中有我」的混合動力，它們共同瓦解了以技術、型態、風格等來規範音樂的傳統束縛，並且蓬勃了音樂創作上的標新立異與實驗精神。然而，它們卻沒有為當代音樂指引、或至少釐清任何明確的文化方向與藝術定義，以致於即便創作者汲汲營營於重新和泥與再做，一切形塑音樂的企圖恐怕也是徒勞無功。現代主義與後現代主義在當代音樂中所引起的發酵，不會只在「是否要拋棄過去長期視為理所當然的理論」、或「調整自己的步伐重新出發」等議題上打轉而已，它更迫使當代音樂必須坦誠面對自己選擇相信的表象，以及與現代社會漸行漸遠的疏離關係；對於學院派的賢達們而言，這甚至可能是一個逐漸喪失其權威創作力與藝術詮釋權的警訊。
並列摘要
In a modern society of fast globalization and information, the development of contemporary music is confronting with an unprecedented impact and challenge. Both in theory and practice, one find difficult to grasp the multiformity that the contemporary music presents; moreover, its modern/post-modern characteristic that rooted in tradition but at the same time also rebelled against tradition has given such a hard time to its audience who is already ”the minority of the minorities”. Contemporary music is often regarded as ”modern music created by the contemporary”, but the multifaceted, unrecognizable and inconsistent styles it presents may more likely to be recognized as a compound of post-modernism.”Post-modern” does not mean ”after modern”, it is a reactionary, questionary and self-critical strength that exists in the modernity. With such strength, the spirit of overturn, innovation and counter-authority of modernity can be revealed. The encounter and organic ferment of modernism and post-modernism in contemporary music has become a mixed power that not only disintegrates the traditional classification ruled by the technique, form and style, but also encourages a creating and experimental spirit. Nevertheless, it fails to direct-or at least the clarify-any explicit cultural direction and artistic definition, hence, no matter how anxious the creators are, all the effort of re-creating and re-establishing a new formality of music seems to be pointless.The problem that the ferment of modernism and post-modernism causes in contemporary music is not only about ”whether one should abandon the long accepted theory” or ”one should to adjust its own step for restarting”, but also about facing the façade which contemporary music chooses to believe, and the alienation between itself and the modern society. For scholarly elitists, it could even be a warning sign of gradually losing their influential creativity and the artistic interpretation authority.