臺灣近年簫經典創作曲研究─以《孤鳥哀歌》《意與象》《蕭中簫》《馬蘭姑娘》為對象

自本世紀以來，簫樂藝術在臺灣音樂家們的努力下，創作出多元的當代作品。起先多以傳統民歌與地方音樂為創作素材，後因作曲家之投入，簫樂創作之曲風多有突破，更因當代作曲家之參與，成長背景的差異各有不同的思維，簫樂作品有其特殊風格，如以現代音響的素材為靈感，創作出有別於傳統簫樂風格的新樂曲。在臺灣，簫樂的發展歷程中，陳焜晉以演奏家參與創作，陳中申則以演奏家兼作曲家投入簫樂，作曲家蕭泰然以浪漫手法創作簫樂，馬水龍更以現代創作手法創作出簫的新樂章；這些作品具有兩大特色：一為結合民歌以傳統變奏加花手法創作，加強樂曲演奏技巧與樂曲織度；二為結合東西音樂跨域多元的音樂風格，譜出新穎樂章。臺灣源自於多元文化的民族，善於吸收跨域的多元文化，形成多元的當代社會文化，此跨域、多元孕育在音樂上，成為新穎的音樂文化。本論文之結構如下：第一章為緒論；第二章是介紹作曲家陳焜晉、馬水龍、蕭泰然、陳中申的生涯與樂曲創作背景；第三章樂曲分析與詮釋，了解樂曲的架構與創作手法，並將有使用之臺灣民歌與創作樂曲做對比，以及如何詮釋樂曲；第四章結論，探討簫作品未來發展趨勢與走向。清楚簫樂成長歷程，了解樂曲背景、架構與如何詮釋樂曲演奏藝術，最終傳遞探析的簫樂珍貴內涵；驥期在簫樂藝術文化裡，起拋磚之作用，引領更多學習者投入簫樂之研究，使簫樂藝術更加提升。

關鍵字

簫；《孤鳥哀歌》；《意與象》；《蕭中簫》；《馬蘭姑娘》

並列摘要

Thanks to the relentless Taiwanese musicians, twenty-first century saw the abundant and diverse styles of contemporary works in the art of xiao music. At first, creators deployed traditional folk songs and local music elements as the materials in the works. Later on, with more composers involved, there have been many breakthroughs in the styles of xiao music works. Due to the participation of contemporary composers, with whose varied backgrounds, hence the diverse ideas and thoughts, the world of xiao music has bred new pieces inspired by elements such as modern sound effects, developing its own unique styles different from traditional ones. In the development of xiao music in Taiwan, CHEN Kun-Jin participated in the creation of xiao music as a performer, and CHEN Chung-Shen engaged in xiao music as a performer and composer. For the perspective of composers, HSIAO Tyzen created xiao music with Western romantic techniques, and MA Shui-Long created xiao music with modern innovative techniques. There are two major characteristics in these works: the first one is to combine folk song materials with traditional variations and ornamentation, emphasizing the performance skills and enriching the music texture; the other is to combine the musical styles of Eastern and Western music to compose innovative pieces. Taiwan is consisted of multiple ethnic groups, and it naturally absorbs diverse cultures from multiple areas to form a diverse contemporary social culture. As a result, this diversity is nurtured and presented in music and becomes a fresh energy in music culture. The structure of this thesis is as follows: Chapter One serves as an introduction; Chapter Two introduces the careers of composers CHEN Kun-Jin, MA Shui-Long, HSIAO Tyzen, and CHEN Chung-Shen, and the creation backgrounds of each piece discussed in this thesis; Chapter Three states the music analysis and interpretation to help understand the music structures and creation techniques, comparing the creations with the original Taiwanese folk song materials they used, if any. Also, the interpretation of the music is suggested. As the Conclusion, the tendency of future xiao music development is discussed in Chapter Four. This thesis aims to understand the development context of xiao music, to analyze the xiao pieces mentioned in discussion, and to know how to interpret them in performance, and finally, to convey the precious value of xiao music. Hopefully, this thesis can play a role in the art of xiao music as a catalyst to ignite more passion for more researchers and learners to invest in xiao music researches, bringing the art of xiao music to the next level.