The Use of Traditional Chinese Elements in Selected Saxophone Works by Lei Liang

梁雷薩氏管作品選曲中中國傳統音樂元素的運用

張曉(Xiao ZHANG) ； 凱爾．費樂(Kyle FYR)

《音樂研究》 35期 (2021/11) Pp. 123-154

https://doi.org/10.6244/JOMR.202111_(35).04

摘要

The purpose of this study is to examine the use of traditional Chinese elements in two of Lei Liang's saxophone works, Peking Opera Soliloquy and Xiaoxiang, and to analyze how Liang incorporates such elements into compositions written largely with Western musical techniques and vocabularies. Traditional Chinese elements identified in these pieces include Peking Opera singing, Peking Opera accompaniment, traditional Chinese melodies, one-note polyphony, and other Chinese artistic elements such as negative space and calligraphy. This study also explores how the traditional Chinese musical and artistic elements are reproduced or alluded to with western musical notation, genres, saxophone performance styles and techniques in creative and innovative ways. It is hoped that this research can inspire further investigations on works of saxophone or works of other musical instruments with embedded Chinese elements.

關鍵字

saxophone ； Peking Opera Soliloquy ； saxophone concerto Xiaoxiang ； Chinese music elements ； negative space

並列摘要

本研究旨在分析梁雷的兩部薩氏管作品《京劇獨白》和《瀟湘》對中國傳統元素的運用，並探討梁雷如何將這些中國元素融入西方音樂框架中。在這兩部作品中識別出的中國元素包括京劇演唱、京劇伴奏、中國傳統旋律、一音多聲和其他中國藝術元素，如留白和書法。本研究亦探討作曲家如何在西方音樂記譜法、樂類、薩氏管演奏風格與技巧的界限內，運用創造性與創新的手法，模仿或影射這些中國傳統音樂與藝術元素。希望本研究能引發對於薩氏管作品或其他帶有中國傳統元素之器樂作品的進一步探究。

並列關鍵字

薩氏管 ； 《京劇獨白》 ； 《瀟湘》薩氏管協奏曲 ； 中國音樂元素 ； 留白

參考文獻

Liang, Lei. Memories of Xiaoxiang. New York: Schott Music, 2003.

Liang, Lei. Peking Opera Soliloquy for Alto Saxophone. New York: Schott Music, 1994.

Liang, Lei. Xiaoxiang, Concerto for Alto Saxophone and Orchestra. New York: Schott Music, 2009/2014.

梁雷。〈对我深有影响的几个体验和一些创作想法〉。《人民音乐》2012 年第 1期：10-11。【Liang, Lei. “A Few Experiences and Some Creative Ideas That Have Had a Profound Impact on Me.” People’s Music, 2012/no. 1: 10-11.】

梁雷。〈借音乐提问〉。《人民音乐》2000 年第 12 期：11-12。【Liang, Lei. “Ask Questions through Music.” People’s Music, 2000/no. 12: 11-12.】