- 學位論文
新視野的浮現：半世紀以來臺灣音樂創作的論述
The Emergence of a New Horizon: Five Decades Discourse on Taiwan Musical Composition
摘要
二十世紀後半的臺灣音樂創作可具體的被區分為幾個不同階段：一九四五年到一九五０年代是以日治教育之作曲家為主；一九五０年代，中國大陸來臺的音樂家們權事了此地的音樂教育。一九六０年代是台灣音樂創作的一個甦醒的時期，在史惟亮與許常惠的影響之下，作曲家們開始尋找一種自我民族風格與形式的必要與可能。作曲家們的這種對土地與人文的關懷成就了後來二十年左右，臺灣音樂創作的民族主義時期。直到潘皇龍的自歐返臺，引進當時正方興未艾的歐洲創作技術與風格，著實的撼動並扭轉了一九八０年代臺灣音樂創作的美學與音樂觀念，這是對過去民族主義風格與創作技巧的一種挑戰，也是台灣之新音樂（Neue Musik）時代的來臨。強調民族風格的與新音樂技巧的創作者，在一九九０年代逐漸的彼此理解與交會、融合，這種多元情境之具臺灣性的音樂書寫具體成型。 如此，半世紀以來的臺灣音樂創作即是一個新視野浮現的過程。而幾位越年與跨域關係的作曲家－郭芝苑、盧炎、賴德和、潘皇龍、楊聰賢與李思嫺－之創作，藉以作為本論文論述臺灣音樂創作發展脈絡之例證。
並列摘要
The development of post World War II Taiwan Musical Compositions may be divided specifically into several different periods: the active composers during 1945 till 1950 were mainly Japanese educated; and than, 1950s, the Chinese migrants dominated it’s musical educations. 1960s was the time of “awakening”, while Shih Wei-Liang and Hsu Tsang-Houei’s recalling the concern for a “Nations Geist” formed a twenty year long “Nationalism Movement”. It was the time of a “new challenge” when Evant-Garde compositions were introduced by Pan Hwang-Long returning to Taiwan at 1981 after his years long residence in Europe. Composers of “folk style” and of “Neue Musik” gradually got understanding with each other after their many debates, it was untill 1990s, composers worked with their music in a multiple mode with different ways. It is the history of a five-decades music composition, an emergence of a new horizon. The discourse was exampled by the works of Kuo Chi-Yuan, Lu Yen, Lai Der-Ho, Pan Hwang-Long, Yang Tsung-Hsien and Lee Szu-Hsien, 6 composers from different periods.