從尹伊桑《五首鋼琴小品》之探究來看亞洲作曲家在西方文化下的創作出路

韓裔德國籍作曲家尹伊桑（Isang Yun），於1958年在德國「柏林音樂學院」（Hochschule fuer Musik, Berlin）進修期間，完成了一首獨奏曲《五首鋼琴小品》（Fünf Stücke für Klavier）。翌年九月，這首作品在荷蘭的畢多芬（Bilthoven），由鋼琴家海爾曼‧庫特（Herman Kurpt）首演。從尹伊桑一生的創作歷程來看，此樂曲不僅反映著他在二十世紀五十年代後半期創作思路與發展方向的重要轉捩點，更被視為研究其個人成熟音樂風格形成初期的參考文獻之一。在樂曲中所展現的，無疑地是借鑑於西方現代音樂觀念和新的作曲技法，並試圖將一些具有韓國傳統音樂文化的內涵加以結合。為了能夠進一步深入瞭解在二十世紀五十年代後半期，尹伊桑在接受西方文化薰陶下，是如何在創作求索中力求發展其藝術個性化的思維與表現方式，並為自身音樂創作觀念與風格尋求新的出路，正是本文所要探究的中心議題與目的。

關鍵字

音高；十二音技法；音色；節奏

並列摘要

Korean-German composer Isang Yun in 1958 during his study at Hochschule fuer Musik,Berlin, Germany, completed a solo ”Fünf Stücke für Klavier”. Next year in September, this work was premiered in Bilthoven, Holland by pianist Herman Kurpt. From Isang Yun's life of creative journey, this work not only reflects in the late 50s of the twentieth century his compositional thinking and development direction as an important turning point, but also is seen as one of the reference studies for researching his mature musical style in the early stage. As Shown in the music, no doubt it borrows the western contemporary musical ideas and new compositional techniques, and also attempts to combine with the internal elements of certain Korean traditional musical culture. To further understand in depth in the late 50s of the twentieth century, Isang Yun received the influence of western culture. The way of his creation in search for developing his artistic personality in ideas and expression manners, as well as his own musical compositional thinking and style in search of a new direction, is exactly the central issue and objective of this thesis.