根植於傳統的創新－潘皇龍、曾興魁和錢南章留德時期音樂風格的研究

潘皇龍(1945-)、曾興魁(1946-)、錢南章(1948-)，在70年代至80年代初期留學德國期間的創作，大多數是他們作品中重要的代表作，在風格上，普遍出現比起他們其他作品更現代及前衛的現象。這些前衛的風格與他們所處留學地當時的音樂潮流有很大的關係。但是在這些現代音樂語法背後，這些作曲家主要所要表達的精神與內涵，卻是自身的文化傳統。他們想找出東方與西方文化、傳統與現代文化之間結合的可能性，藉此創新自身的傳統文化，同時找出自已創作的主體性。所以他們留德時期所創作的音樂作品之標題，幾乎都是與自己的文化傳統有關，例如潘皇龍的《五行生剋八重奏》、《因果三重奏》、《人間世》、《蝴蝶夢》等；錢南章的《孤兒行》、《詩經五首》；曾興魁的《物化》等。這三位作曲家留德期間所奠定的風格－以西方當代音樂語法結合自身文化傳統－，對其後來創作之發展，扮演著重要的角色。因此本論文主要的問題意識是想要釐清這三位作曲家留德時期的音樂創作是根植於哪些自身傳統？他們是透過融合哪些西方音樂技法來達到創新傳統？三個作曲家創新傳統的方式有何不同？以及他們如何藉此來發展出自己創作的獨特風格？希望透過這些問題的釐清可以增進我們對於他們迴然不同的創作風格的理解。

關鍵字

潘皇龍；曾興魁；錢南章；台灣當代音樂；台灣當代作曲家

並列摘要

In this paper I will try to research the works of three important modern Taiwanese composers: Pan Hwang-long (1945-), Tzeng Shing-kwei (1946-) and Chien Nan-chang (1948-), specifically concentrating on those which were composed during their study in Germany from 1970er to early 1980. Most of their works in this period can be regarded as their main works, because the styles of these works are usually more modern than their other works. These modern and avant-gardical styles had much to do with the music trends at that time in Germany. In spite of these modern styles, the spirit and contents of their works that composers want to express are nonetheless their own tradition. They are intended to find out the possibility to combine eastern with western, as well as traditional with modern cultures, and by means of such combination they innovate their own culture, at the same time establish their distinguished identity as eastern composer in contrast to the western. For this reason their works in this period bear almost titles concerning with their own cultural tradition. The style, which combined the western contemporary musical language with their own culture and founded by these composers during their study in Germany, plays an important role in the development of their later compositions.Accordingly I will try to clarify the following questions:1. On what kinds of their own tradition are their compositions based?2. By means of what kinds of western modern musical technics do they innovate their own tradition?3. What difference is there between the innovations of these tree composers? and how do they develop their special styles by means of such innovations? I expect that the clarification of above-mentioned questions will help us to have more understanding about the totally different styles of their works.