從尹伊桑《練習曲》之表述來看尋根文化中的傳統與創新

二十世紀後半期，在國際音樂舞台上頗具有聲望與影響力的亞洲作曲家之一尹伊桑(Isang Yun, 1917-1995)，於1974年為長笛家族樂器寫作了五首獨奏作品，題名為《練習曲》Etüden。在這五首獨奏作品裡，不僅展現出多樣化非傳統的演奏技巧，與富有現代感新穎的音響色彩；同時，更反映著他在70年代早期，在創作思路與審美價值的傾向。其中，令人囑目的地方，就是他試圖以西方現代音樂語彙的技法，去尋求具有東方傳統文化底蘊的創作內涵，極具有個性化與創造力的音樂藝術表現。為了能夠更深入瞭解此作品背後，所潛藏於作曲家其內心深處那份深厚的東方傳統文化情愫，與深層的思想內涵，以及如何有意識地通過在創新思維不斷的探索與自省中，建構出其獨特的音樂語言，正是本論文所要探索的議題。

關鍵字

音高；音色；節奏

並列摘要

In late 2 0th century, on the international musical stage, one of the more prominent and influential Asian composers, Isang Yun, 1917-1995, had written for the flute family five solo pieces, entiled ”Etüden” in 1974. In these five solo pieces, Isang Yun not only manifested a variety of the non-traditional performing techniques and contemporary novel musical colours, but also reflected the early 1970's his creative thinking and the trend of the aesthetic worth. Amongst these, the most spectacular aspect is that he attempted to use the techniques of the western contemporary musical vocabulary to search for the underlying creative meaning of the oriental traditional culture. This has displayed personalistic and creative musical art. The discussion issues in the dissertation are to better understand the composer's mind that embedded the feelings of a profound oriental traditional culture and the inner layer of ideological intension. At the same time, this dissertation discusses how the composer through creative thinking under continued exploration and selfreflection, constructed his unique musical language.