張昊的音樂思想與實踐

Musical Thoughts and Practices of Chang Hao

楊嘉維(Chia-Wei Yang)

指導教授 ： 顏綠芬

國立臺北藝術大學/音樂學院學術論文/音樂學研究所/碩士(2015年)

https://doi.org/10.6835/TNUA.2015.00061

摘要

張昊(1913-2003)是二十世紀少數學貫中西的華人音樂家之一，他身兼作曲家與漢學家，亦擅長理論分析、美學與指揮。第二次世界大戰後，他以中國公費留法獎學金負笈巴黎音樂院進修，先後跟隨布蘭傑(Nadia Boulanger)、梅湘(Olivier Messiaen)等法國音樂家學習。1960到1970年代，他轉往漢學研究，並在義大利取得博士學位。在此期間，他曾任教於義大利、德國等地大學且積極參與學術活動。1980年代，他來臺任教並落腳於此。其晚年創作頗豐，有代表作如交響詩《大理石花》(1984)、《華岡春曉》(1988)、《東海漁帆》(1988)等傳世。
　　本研究即以張昊生平、漢學研究內容及代表作品《大理石花》、《華岡春曉》、《東海漁帆》進行剖析，藉此探索其美學思想及創作理念的構築過程。《大理石花》交響詩雖是張昊在臺灣完成的第一首作品，然此曲樂念及架構早在其1958年寫成的鋼琴版已大致確立，可說是張昊接受了歐洲音樂院洗禮的成熟期作品。《華岡春曉》及《東海漁帆》二曲則是其晚年來臺之作，這些晚期創作在結構、和聲等音樂要素上均有回歸簡鍊、樸實的現象。
　　透過研究張昊漢學論著及其音樂創作，一方面作分析研究，另一方面訪談作曲家親屬、學生及相關演奏家，本研究試圖從不同面向提供後人了解張昊創作與其宇宙觀的基礎，並探討這位被淡忘的前輩樂人在歷史上的位置。

關鍵字

張昊 ； 華人作曲家 ； 漢學研究 ； 大理石花 ； 華岡春曉 ； 東海漁帆

並列摘要

CHANG Hao(1913-2003), a Chinese composer and sinologist who also excelled in musical analysis, aesthetics and conducting, was a rare musician who had a thorough knowledge of both western and Chinese.
Enrolling in advanced study at Conservatoire National de Musique de Paris with scholarship after World War II, CHANG was guided by great French musicians, e. g. Nadia Boulanger and Olivier Messiaen. From 1960s to 1970s, CHANG mainly turned his career to sinology with his rich cultivation, with intensive participation in academic activities and his PhD from Istituto Universitario Orientale di Napoli, Italy, in 1968, and taught Chinese philosophy and literature in universities in Germany and Italy. After 1980s, CHANG moved to Taipei, Taiwan, and finally settled down. During his late phase, his compositional energy revived with bountiful works, especially his masterpieces, symphonic poems “Marble Flower”(1984), “Spring Dawn at Flormont”(1988) and “Fishers’ Sails at the Eastern Sea”(1988), were done in this period.
This thesis is aimed to look into the musical thoughts, aesthetics and constructional progression of the compositions by CHANG Hao with several approaches: biographical study of his life, elaboration of his sinological papers and musical essays, and analysis of his three masterpieces: ”Marble Flower”, which is conceived as the creation of CHANG’s mature period after the baptism from European conservatory, is his most extraordinary work, although it was the first composition finished in Taiwan, which was almost formed in its piano version in 1958. “Spring Dawn at Flormont” and “Fishers’ Sails at the Eastern Sea”, the pieces of his later years, demonstrate a regression to clarity and elegance in texture and harmony.
By doing researches on the sinological papers, the musical essays of CHANG Hao, and the analysis of his pieces and the interviews with his family, students and the relative pianist, this thesis is attempted to provide a stepping-stone for successors to know the world view of Chang Hao and his works, and to re-position him in music history.

並列關鍵字

Chang Hao ； Chinese composer ； Chinese studies ； Marble Flower ； Spring Dawn at Flormont ； Fishers’ Sails at the Eastern Sea

參考文獻

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