本文以「旅行」做為一種譬喻,描述與討論作曲家馬水龍教授的生命與音樂。標題中的「海」指涉鋼琴獨奏曲《雨港素描》(1969),「山」指涉人聲合唱與管弦樂曲《無形的神殿》(2007),我將它們做為時間和空間面向的隱喻。在空間上,涵蓋《雨港素描》中作曲者描繪的故鄉基隆港到《無形的神殿》中呈現的玉山;在時間上,描述故鄉景象的鋼琴小品《雨港素描》代表馬老師早期的創作,而抒發登臨玉山感懷的大型作品《無形的神殿》則是他晚期代表作之一。透過作品探討、訪談紀錄和既有文獻的整理,本文分成「地方」、「路徑」與「音景」三個部分,回顧馬水龍的生命與音樂歷程並討論他的創作理念及文化觀。
Using "travel" as a metaphor in this paper, I describe and discuss the late composer Ma Shui- Long's life and music. The word "sea" in the title of this paper refers to the piano piece A Sketch of the Rainy Harbor (1969), while the word "mountains" is related to Invisible Temple (for chorus and orchestra, 2007). I use "the mountains and the sea" as a metaphor in spatial and temporal dimensions. Spatially, "the mountains and the sea" are associated with the Port of Keelung, the composer's home town that was depicted in A Sketch of the Rainy Harbor, and Yushan (Jade Mountain or Mount Morrison), the subject of Invisible Temple. In the temporal dimension, the piano piece represents Professor Ma's early works, while the work for chorus and orchestra that describes the composer's Jade Mountain hiking represents Ma's late works. By means of musical analysis, interview notes and literature reviews, I provide a brief view of Ma's life and music, and discuss his viewpoints on composition and culture, through three parts of this paper, "Places," "Routes" and "Soundscapes."