臺灣當代安魂曲初探－ 以柯芳隆的《二二八安魂曲》與賴德和的《安魂曲—祭九二一臺灣世紀末大地震》為對象

Two Case studies on “228 Requiem” by Fan-Long Ko and “Requiem－Memories of 921 Late-century Earthquake in Taiwan” by Deh-Ho Lai

呂翊廷(Yi-Ting Lu)

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(2013年)

https://doi.org/10.6835/TNUA.2013.00089

摘要

安魂曲，這個名詞原文來自於拉丁文，正式的名稱為「安魂曲彌撒」(Missa de requiem【拉】，Requiem【德】)，是天主教亡者彌撒的簡稱。20世紀的安魂曲相當多樣化，許多已擺脫既有的安魂曲形式，很多內容不再出自於拉丁文彌撒或儀式經文，而只是採用「Requiem」作為樂曲的標題，作為追思亡者，撫慰存者的原意。臺灣作曲家的作品以「安魂曲」為標題的並不多，可是針對災難而寫，作品皆很深刻。「二二八事件」與「九二一大地震」，是臺灣人不能忘懷的傷痛，也深深地烙印在文人心中。面對事件後人們的心靈需要昇華，而「藝術」可使自我生命呈現，透過「藝術」讓經歷的人們走出傷痛；音樂是最貼近人心的語言，是轉化悲劇的極佳方式。本文主要探討柯芳隆的《二二八安魂曲》與賴德和的《安魂曲—祭九二一臺灣世紀末大地震》兩大作品。
二二八事件，過往是禁忌，解嚴後文學家、藝術家才能碰觸這個議題。作曲家柯芳隆運用了詩人李魁賢的《二二八安魂曲》臺語詩作譜出大型合唱管弦樂曲《二二八安魂曲》，一共分為六大樂章，演出長度約40分鐘。本文首先簡述李魁賢的詩文的寫作動機與理念，再探討柯芳隆創作這首曲子的背景與實踐，以及他如何運用李魁賢詩詞，呈現音樂與文學結合的臺語聲韻之美來省思歷史悲劇，文中也將「二二八安魂曲」的各樂章一一作風格特色探討。
九二一大地震使台灣人民在驚駭恐懼中烙印了痛苦記憶，是近百年來台灣最嚴重的災害事件，傾毀的家園，慘重的人員傷亡，難以估計的損失，賴德和閱讀《九月悲歌─921大地震詩歌集》詩集中後，深受感動，尤其向陽的「烏暗沉若來」（臺語）、杜十三的「在斷層上與你相擁」以及鍾玲的「安魂曲」（華語），因此他將這三首詩作重新剪裁，融入所創作的合唱管弦樂《安魂曲—祭九二一臺灣世紀末大地震》。本文先簡述三位詩人的詩作，再探討賴德和創作這首曲子的背景與實踐，以及作品中他如何將詩文意象予以音樂化，呈現音樂與文學結合之美；樂曲是一氣呵成的，但本文根據其不同詩作，及樂曲的特徵分為三大部分探討，一開始以沉重恐怖揭為序幕，繼之以悽情悲傷，曲終則是撫慰昇華，全曲演奏長度約25分鐘，臺語和華語詩文交錯分別呈現三首詩作的特色與風格。
從《二二八安魂曲》與《九二一安魂曲》這兩部世俗安魂曲中，我們看見兩位作曲家以不同題材為主題，相異的技法與音樂語言，作出了對事件的詮釋。共通點是，他們都提出了對這片臺灣土地的愛護與關懷，也擺脫了對宗教性安魂曲的框架，省思意味濃厚，出發點是一種社會關懷，特別是藉由此曲來撫慰生者、悼念不幸的罹難者，屬於貼近民眾的安魂曲。

關鍵字

安魂曲、柯芳隆、賴德和、二二八事件、九二一大地震、李魁賢、向陽、杜十三、鍾玲

並列摘要

Requiem, originally named from Latin, is formally named as “Requiem Mass”(Missa de requiem or the Requiem) , which is an abbreviation of Catholic mass to the death. Requiem in the 20th century is diversified and different from original formats, it is no longer a Requiem mass of Latin, nor scriptures of liturgy, but only quoted as a title of musical composition, and made to memorize the death, or to smoothe the survivors.
In Taiwan, there are very few musicians who named their compositions after requiem, however, some of them did use it in their creations as to memorize some painful disasters, and most of the music are profound. “ 228 Massacre” and “Earthquake 921” are two of the most unforgettable sadness in memories of Taiwanese people, and they inscribed ultimate pain to some of the composers as well. People were eager to get over from the pain after disaster, and, as a function of revealing life, Arts played the roles to heal people’s wounds and to release their pressures during that time. And in all forms of arts, music has been the most intimate language to human hearts and the best way to transform feels of tragedy. In this research, we are seeking to explore the inside components of two representative requiems in Taiwan：“Requiem of 228”by Ko Fan-Long, and “Requiem-Memories of 921 Late-century Earthquake in Taiwan” by Lai Deh-Ho.
228 Massacre was an former inhibition in Taiwan, authors and artists can not touch the issue until the end of martial law. By lunching the Taiwanese poem-“Requiem of 228”, Ko Fan-Long composed a large scale choral-orchestral work,“ Requiem of 228”, which contains 6 movement in total, and a performing length around 40 minutes. My research will briefly describe the motivations and ideals of Li Kuei-Hsien’s poem, then to discuss the background and realistic of Ko’s composition, and how he used Lee’s poem to display the splendid combination of music and literature by Taiwanese tongue, and to exam the major tragedy in Taiwan history. Also, we are going to discuss the composing characters of each movement of the “Requiem of 228”.
Terrors and dreads of Earthquake 921 inscribed ultimate painful memories to Taiwanese people. It was the most serious disaster since hundred years ago, losses of human life and estates were inestimable. Having been deeply touched by《September
Elegy-921 earthquake, a collection of poetry poems》, Lai Deh-Ho selected 3 poems of the collections,“Coming of the Darkness” (in Taiwanese) by Xiang Yang , “Holding on the Fault” by Du Shi-San and “Requiem” by Chung Ling (both in Mandarin), to blend a large scale choral-orchestral work, “Requiem-Memories of 921 Late-century Earthquake in Taiwan”. My article will briefly explain the poems of three poets to explore Lai Deh-Ho’s creative backgrounds and practices of the work, and how he made poetic imagery into his creation, and presented the perfect combination of music and literature. The music in this article will be divided it into three parts, in order to investigate the different characteristics of each poems and movements of work. It begins with a heavy disastrous prelude, follows by sad sentiments, and ends with soothing sublimation of peace. With a performing length of 25 minutes, the composition displays specific characters of each poem by mixing Taiwanese and Mandarin.
From these two requiems, we saw two composers used different skills and musical languages to describe materials in different events. They both displayed the care and love to their homeland Taiwan, and warmed out the religion frameworks from traditional requiems. Both works started from the point of social concern, with same deep introspection, and both made to memorize the death and soothe the survivors. Generally, they may all be considered as civil requiems.

並列關鍵字

Requiem, Ko Fan-Long, Lai Deh-Ho, 228 Massacre, Earthquake 921, Li Kuei-Hsien, Xiang Yang, Du Shi-San, Chung Ling

參考文獻

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李魁賢，〈詩人童年中的二二八經驗〉，《中外文學》第 7期，1996年 12月，

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吳乃德，〈書寫「民族」創傷： 二二八事件的歷史記憶〉，刊載於《思想月

財團法人二二八基金會：