西域音樂風格之箏樂作品研究—以《煙霄引》、《行者》、《賽乃姆》為例

箏樂創作蓬勃發展以來，從移植、改編、再創作，直到今日結合多樣化的題材形成各種風格的箏樂作品。多元的箏樂作品不僅帶動演奏技法的開發，更是突破傳統五聲音階在轉調上的限制，在定弦上做出變革。在同樣風格類型的作品中，不同的成長背景與環境，造就作曲家各自的創作理念與題材運用，豐富了樂曲的呈現。西域自古即是東西方民族經濟、文化、宗教、音樂藝術交流的要道，融合來自各地豐富的文化資源，並對各地的音樂文化發展有著深遠的影響。在日益多元的箏樂作品中，即有不少西域音樂風格的創作。最常見的如《西域隨想》(1996)、《西部主題暢想曲》(2005)...等。本文將以此風格箏樂作品作為研究對象，包括黃好吟描繪胡旋舞所作的《煙霄引》(2009)、魏軍描繪龜茲古國所作的《行者》(2015)、王建民描繪新疆賽乃姆樂舞所作的《賽乃姆》(2018)，藉由研究以上三首箏樂作品探討其中的藝術背景與音樂特點。本論文第一章為緒論;第二、三、四章分別以三首樂曲為主，探討其作曲家背景、創作理念與源起，並透過分析樂曲定弦與結構，進而了解樂曲意境並掌握樂曲的表現方式。筆者經由此研究發現，透過作品從創作源起、題材選用、定弦設計直到樂曲創作的發展，從中了解作曲家選用的素材與描繪之意境的關聯，能進而讓演奏者結合自我理解，並且更具體地詮釋出樂曲所表達的藝術形象。

關鍵字

黃好吟；煙霄引；魏軍；行者；王建民；賽乃姆

並列摘要

Since the vigorous development of guzheng compositions, various styles of guzheng compositions have been formed from transplantation, adaptation, and re- creation until today combined with diverse themes. Diverse guzheng compositions not only drive the development of performing skills, but also breaking through the limitations of traditional pentatonic scales in modulation and make changes in tuning. In compositions of the same style and type, different growth backgrounds and environments have created composers' respective creative concepts and the application of themes, enriching the presentation of music. Since ancient times, the Western Regions has been the important thoroughfare of economic, cultural, religious, musical and artistic exchanges between the East and the West. Among the increasingly diverse guzheng compositions, there are many compositions of Western music styles. The most comman ones are “In Spirit of Western“(1996), “Western Theme Fantasia”(2005). This article will take this style of guzheng compositions as the research object, including Huang Hao Yin's "Reincarnation" (2009) depicting the Sogdian Whirl, Wei Jun's "Xine-Zhe(Walking)" (2015) depicting the Kucha ancient country, and Wang Jianmin's depicting Xinjiang's sainaimu folk dance "sainaimu"(2018), By studying the above three guzheng compositions, the artistic background and musical characteristics are discussed. The first chapter of this thesis is an introduction; the second, third, and fourth chapters focus on the three compositions in studied, discussing the composer's background, creative concept and origin, and by analyzing the tuning and disphony of the compositions, to understand the artistic conception of the compositions and master the music way of performance. Through this research, the author found that through the development of compositions from the origin of creation, the selection of subject matter, the design of tuning, and the creation of music, we can understand the relationship between the materials selected by the composer and the artistic conception of the description, so that the performers can combine self-understanding and more specifically interpret the artistic image expressed by the music.