江文也(Bunya Koh, 1910-1978),為1930年代臺灣籍作曲家,出生於臺灣,少年時期前往日本學習聲樂,並且與日本著名音樂家山田耕作(Kosaku Yamada, 1886-1965)學習作曲,1938年舉家遷移定居中國大陸;但卻也因為當時動盪的政局、以及文化大革命的牽連,以致晚年生活困苦、積勞成疾,作品數量銳減,甚至在樂壇銷聲匿跡。近年來,臺灣、日本、中國陸續興起對江文也演奏、文字與音樂創作的研究、保存,使得江文也的音樂得以延續至今。在江文也的眾多作品中,有三部作品與屈原有關,分別是:聲樂曲《禮魂》、鋼琴作品<端午賽龍悼屈原>以及交響詩《汨羅沉流》。本文將以這三部作品為研究對象,試圖透過音樂特色、音樂符號的分析歸納江文也屈原作品的特色與其自身的關聯。
Bun-ya Koh (1910-1978), as the 1930s Taiwan’s representable composer, who was born in Taiwan, and he went to Japan to study vocal music and composition with Japanese famous composer Kosaku Yamada (1886-1965) during his teenager time. At 1938s, he moved to mainland China, but also because of the Cultural Revolution implicated, that in his later years, overwork, the sharp drop in the number of works, or even disappeared in the music. In recent years, Taiwan, Japan, China, have sprung Bunya Koh music study, play and conserve, so that Bunya Koh ‘s music could be conserved to this day. During Bun-ya Koh’s compositions, there were three works relates with Qu Yuan, that is, vocal piece ‘ Admire the soul’, piano work ‘In Memory of Qu Yuan on Dragon Boat Festival Day’, and a symphonic poem ‘Memorial to QuYuan’. The three compositions are the research object of this thesis, through music feature and music semiotics analysis trying to find Bun-ya Koh’s Qu Yuan compositions characteristic and the relationship to himself.