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聲音,歌與文化記憶-以台灣當代作曲家之作品為例

Sound, Song and Cultural Memory-Examples from the Works of Contemporary Taiwanese Composers

摘要


二十世紀以來,台灣的音樂創作自始即存在著「現代」與「傳統」這兩個精神向度的追求,作曲家們無不努力地運用他們習自日本或歐美先進國家的各種音樂語彙和技法來表現其個人情感與審美理念。無論是採用古典調性、調式語法,二十世紀的多調性、非調性、十二音音列語言,或電子音響等音樂新科技,素樸的民歌與傳統音樂素材始終仍是大多數台灣作曲家們從事創作活動時的寫作材料和靈感來源。作曲家或直接引用民歌旋律,或將民歌素材加以發展、變形,或從傳統音樂中擷取富於鮮明文化色彩的要素-如五聲音階、樂器音色、人聲等-來表達他們的文化認同,透過抽象的聲音組合來喚起聽者的情感共鳴與文化記憶。本文首先藉由日本當代作曲家細川俊夫在討論武滿徹作品時對於「歌」的界定,指出當代音樂中「聲音」〔sound〕與「歌」〔song〕的界限已趨模糊。其次本文將透過半個世紀以來幾部風格迥異的音樂創作來呈現台灣作曲家們如何藉由各種音樂語言與現代作曲技法來賦予民歌、傳統音樂素材,乃至於這些作曲家生活週遭隨處可聞的音調或音響以嶄新的生命和面貌。藉由各種傳統或西方樂器、人聲乃至於電子音響與電腦科技,這些音樂作品在不同的歷史時空中非但以「聲音」和「歌」的多樣組合、變形與發展參與塑造了台灣人的文化記憶,也呈現了台灣當代音樂創作之「傳統」與「現代」、「現代」與「後現代」並存的現象。

關鍵字

聲音 旋律 陌生化 文化記憶 台灣當代音樂

並列摘要


Since the beginning of the twentieth century, there have always been two spiritual dimensions in Taiwan's history of musical creation: the pursuit of modernity and the enlivenment of tradition. Almost all Taiwanese composers have made a great deal of effort to present their personal feelings, particular aesthetics, and cultural identities through different musical languages and techniques learned from Japan, Europe, and the United States. No matter what kinds of languages or techniques they use: tonal or modal, polytonal or atonal, serial or electroacoustic, Taiwanese folksongs and traditional musical materials always inspire them in their creations. They directly quote, transform, or develop the melodies of folksongs in their works, and sometimes draw characteristic elements such as pentatonic scale, vocal declamation, and instrumental timbre from traditional musical materials, employing them to enrich their works and evoke the listener's subconscious cultural memory.In this article, we will first present the discourse of Japanese composer Toshio Hosokawa on the music of Tôru Takemitsu to show that the boundary between ”sound” and ”song” in contemporary music has become obscure. Then, by analyzing the works of some Taiwanese composers, we will illustrate how they enliven traditional folksongs and musical materials using different styles and techniques. Whether written for Western or traditional instruments, chorus or computer music, these works not only penetrate the cultural memory of the people in Taiwan, but also present the common characteristics of contemporary Taiwanese music: the coexistence of tradition and modernity as well as the coexistence of the modern and the postmodern.

參考文獻


嚴福榮(2006)。音響多元化的思維─盧炎大提琴獨奏曲《歌》的探究。關渡音樂學刊。5,1-24。
劉興欽口述、林少雯紀錄整理,〈夜半吹笛按摩人〉,《人間福報》電子報2008年7月17日

被引用紀錄


王婉娟(2012)。現代音樂中儒道思想的體現─以江文也《孔廟大晟樂章》、尹伊桑《禮樂》、潘皇龍《禮運大同篇》為例〔碩士論文,國立臺北藝術大學〕。華藝線上圖書館。https://doi.org/10.6835%2fTNUA.2012.00045
楊宜樺(2015)。想像臺灣?臺灣當代音樂創作中的南管〔碩士論文,國立臺灣大學〕。華藝線上圖書館。https://doi.org/10.6342%2fNTU.2015.02477
蕭育霆(2012)。傳統與現代的交匯 台灣原住民素材的應用與分析〔碩士論文,國立臺灣師範大學〕。華藝線上圖書館。https://www.airitilibrary.com/Article/Detail?DocID=U0021-1610201315275872

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