臺灣當代的音樂發展,無論是愈來愈專業化的專家化特徵,或是愈來愈多元的跨文化面貌,跨界發展似乎已是共同的趨勢。從所謂的「學院派」作曲家,到一般民間或業界的自由藝術創作者,跨界的因子快速地活躍於當代音樂藝術的殿堂中。舞蹈、戲劇、美術、多媒等各種元素紛紛與音樂互動起來,原本抽象、「只可意會、不可言傳」的音樂,頓時具象起來,「聽」、「說」、「讀」、「寫」樣樣皆可。當代音樂的跨界創作與演出,改變了音樂「孤芳自賞」的形象。然而,從各類大相逕庭的具體演出與發表成果來看,不論在學術界或表演界,「跨界」、「跨領域」至今在臺灣樂界仍是定位模糊,甚至相當分歧的概念。本文透過對近來活躍於跨界演出的兩個具代表性的公立樂團(「臺北市立國樂團」與「國家交響樂團」)之分析研究,一窺當代臺灣樂團的跨界展演面向,並為所謂的「跨界」、「跨領域」概念勾勒較完整的意象與明確的定位。
In the contemporary development of music in Taiwan, no matter from the professional or the multi-cultural aspects, crossover seems to be the common tendency. From the so-called ”academic” composers to the general or freelance artists, crossover becomes more and more popular in the contemporary musical art. Various elements from dance, drama, art, media etc. join music, which significantly changes music's image as a ”loner”.However, through the publications and the performances of music, it is apparent that no matter from the academics' or performers' point of views, the definition of ”crossover” varies and is still not clear. Through case studies on the recent crossover performances of two representative public orchestras, the Taipei Chinese Orchestra and the National Symphony Orchestra, this paper aims to explore the aspects of the crossover performance of public orchestras in Taiwan, and to draw a more complete picture of ”crossover”.