當全球化的風潮席捲當代文化的同時,在地文化的自我認同紛紛在各個地區興起,為了展現民族或國家特色,在地文化更朝向全世界邁進,而產生「在地全球化」的現象,爵士音樂在臺灣的發展亦是如此,在地化融合的新聲響撼動著臺灣的聽眾,將熟悉的音樂元素融入即興演奏,讓這正成長茁壯的樂種更加風情萬種。 本研究以彭郁雯的樂壇經驗及《旋轉》音樂會為例,從在地融合樂的創作緣由到創組「絲竹空爵士樂團」的過程,探討臺灣在地化融合爵士樂的紀錄價值,並實地拍攝2010年之年度音樂會,實踐多媒體影音紀錄的導播方法及流程,以典藏紀錄的觀點來做影音紀錄,將可再現在地融合爵士的演出魅力,不僅能作為融合音樂創作者的學習典範,也是提供學術研究的第一手資料,日後於不同的時空之下,或許有其他應用機會或意想不到的啟發,而能延續其藝術價值;因此,筆者致力於導播方法及音樂本質間深思熟慮,製作出符應音樂展演主題意涵及音樂內容的多媒體影音紀錄。
When the contemporary culture has been overwhelmed by the globalization, at the same time, self-approval of local culture emerges in abundance in each area. To demonstrate the nationality or the national characteristic, local culture make great strides forward to the world, producing the phenomenon called “loglobalization”. Also in Taiwan, audience were moved by locality fusion jazz which improvising with familiar music element, cultivating this new variety of music to be rich and colorful. This research take Yuwen Peng’s musical experience and the concert “Spins, Turns & Loops” as an example, discussing the reserve value of the localization of fusion jazz in Taiwan by realize the creation background of fusion jazz and the found of “Sizhukong” jazz band. By filmed the Sizhukong concert in 2010, the research established a process of multimedia recording and musical program direct method. From the digital archives viewpoint, the charming performance of localization fusion jazz could be recaptured in the film, not only take as a study model of fusion compose, but also provides the firsthand material for the scholarly research., and it will extend its artistic value when to meet other proper applications or unexpected inspiration under different situation in the future. As mention above, the research devotes in deep thinking which between the method of program direct and the essence of music, to create a valuable multimedia recording which represent the core of performance and content in music.