閔惠芬「器樂演奏聲腔化」運用之探討－以《遊園》、《陽關三疊》、《洪湖主題隨想曲》為例

高裕景

指導教授 ： 林昱廷

國立臺灣師範大學/藝術學院/民族音樂研究所/碩士(2012年)

摘要

1963年閔惠芬在「上海之春」第一屆二胡比賽中脫穎而出，至今她的藝術地位仍然屹立不搖，她所詮釋的音樂深刻動人，仍被眾人推崇。閔惠芬是如何演奏出情真意切的音樂形象？她是如何受到啟發提出了「器樂演奏聲腔化」的課題？透過樂曲的移植改編、演奏詮釋，又是如何賦予樂曲新的內涵及意義？本文藉由《遊園》、《陽關三疊》、《洪湖主題隨想曲》三首樂曲之研究，分析閔惠芬「器樂演奏聲腔化」樂曲的改編手法、演奏詮釋及音樂內涵。
本文首先探討了聲腔的本質與特性，藉此進一步運用在樂曲的理解與分析。文中採用文獻分析、訪談調查法、樂曲分析、詮釋分析等研究方法，首先了解「器樂演奏聲腔化」的架構與運用；剖析三首風格不同的聲腔化樂曲的改編手法、樂曲架構等；最後再運用聲腔化的詮釋手法落實於演奏中，並整理其演奏特點及規律性。
筆者研究後了解到聲腔化的發展其實源自於語言的特性，同時早已存在傳統音樂當中。閔惠芬長期受傳統音樂的洗禮，拋出了「器樂演奏聲腔化」的課題，通過聲腔藝術的運用與模仿，在樂曲改編方面上各有不同層次的提升，豐富了二胡樂曲的風格；演奏詮釋方面吸收了各種聲腔的演唱特性轉化成多樣性的演奏技巧。最終，藉由「器樂演奏聲腔化」的實踐，是對傳統音樂的闡釋與再造。

關鍵字

二胡 ； 閔惠芬 ； 器樂演奏聲腔化 ； 遊園 ； 陽關三疊 ； 洪湖主題隨想曲

並列摘要

Outshone in the first “The Shanghai Spring” National Erhu Competition in 1963, until today, Hui-Fen Min is still one of most revered erhu masters in the world. How does Min portray sincere musical images? By what has she been inspired the idea of Dramatic Intonation Performance in Erhu? How does she animate different transplanted pieces new meaning and life? Via the analyses of three Min’s transplanted pieces Pondering in the Garden , Yangguan Melody , and Lake Hong Capriccio, the research aims to investigate Hui-Fen Min’s adapted methods as well as interpretation of dramatic intonation performance and the musical content of the three.
The research methods included the documentary analysis, interviewing and musical analysis, and the concepts of interpretation were concluded at last. In the beginning, the nature and traits of shengqiang (voice and tune) were discussed. Then, the structure and application of the dramatic intonation performance on instruments were illustrated. Next, the ways to transplant the three diverse pieces and the musical structures of them were explained. Last but not least, through the practice of dramatic intonation performance and self interpretation, the traits and rules of performing were concluded.
The research result shows that dramatic intonation performance actually could be traced back to the characteristics of languages already existing in the traditional music. Hui-Fen Min absorbs herself in the traditional music over a long period of time, bringing up the concept of dramatic intonation performance, through the applications and imitations of arts of shengqiang, she has further elevated qualities of adaption and enriched the diversity of erhu pieces. For the aspect of performance, the applications of traits in shengqiang have promoted much more distinct techniques. Last but not least, the practice of dramatic intonation performance actually is an interpretation and innovation of the traditional music.

並列關鍵字

Erhu ； Hui-Fen Min ； Dramatic intonation performance ； Pondering in the Garden ； Yangguan Melody ； Lake Hong Capriccio

參考文獻

黃湞淇。〈關迺忠二胡協奏曲《追夢京華》之研究〉。國立台灣師範大學民族音樂研究所， 2008。

一、書籍

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楊蔭瀏。《中國古代音樂史稿 上下冊》。臺北：大洪圖書有限公司，1997。