《親愛的小約翰》── 邁向新時代的圓舞曲

浪漫時期，平民與貴族的階級界線逐漸消失，而「圓舞曲」這個新潮流的出現，更促使兩方找到共同享樂的目標。從民間至上流社會因為此種舞蹈的風行，自然而然的產生對圓舞曲音樂的需求，同時出現了一些音樂上固定的形式。在此時，奧地利作曲家小約翰‧史特勞斯 (Johann Strauss Jr., 1825-1899) 在圓舞曲的創作中更使用鄉土民間的素材，不僅親近平民的品味，也取悅了想追隨新潮流的王公貴族。小約翰的圓舞曲作品，有表象上的通俗、節奏上的穩固、織度上的純粹，甚至在情感上具有豐富的快樂感與幸福。試想，如果以二十一世紀的創作手法來重新詮釋圓舞曲，在許多新舊概念的衝撞、摩擦上，對於創作者來說似乎極具挑戰性。這首三個樂章的作品《親愛的小約翰》將以節奏、織度、音色、配器、曲式、風格、情感等面向，嘗試將這樣的傳統融入新時代的創作思維與手法，並以此論文來論述其理念。

關鍵字

圓舞曲；小約翰；齊塔琴；古箏；中西混合編制

並列摘要

During the Romantic Era, the boundary of classes gradually disappeared, and the new trend in "Waltz" further prompted both peasants and nobles to find the common goal of pleasure. The popularity of this kind of dance naturally created a demand for Waltz music, leading to some fixed musical forms. Austrian composer Johann Strauss Jr. (1825-1899), commonly known for his waltz compositions, especially utilized common folk elements in his waltz music, which are not only affable to the commoners but also entertaining for the trend-seeking nobility. The seemingly straightforward nature, steady rhythm, pureness in texture, and even the symbolism of happiness and joy, were all present in the waltz compositions of Strauss Jr.. Supposedly, if those elements were reinterpreted with twenty-first-century composition techniques, it could lead to many challenges and ideas due to how new and old concepts clash and tussle. The thesis, along with the three-movement composition, Dear Strauss Jr., aims to integrate musical concepts in terms of rhythm, texture, timbre, orchestration, musical form, style, and even emotional aspects, into the creative techniques of the new era.

並列關鍵字

Waltz ； Strauss Jr. ； Zither ； Guzheng ； Chinese-Western Ensemble

參考文獻

一、專書

Google Scholar

Rimskij-Korsakov, Nikolaj, and Štejnberg Maksimilian. Principles of Orchestration with Musical Examples Drawn from His Own Works. New York: Dover, 1964.