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

A Practice Of Coufucianism And Daoism In Modern Music Works—A Case Of Chiang Wen-Yeah’s “Confucian Temple Rites”, Isang Yun’s “Reak”,Pan Hwang-Long’s “Harmohy Of The World”

王婉娟(Wan-Chuan Wang)

指導教授 ： 顏綠芬

國立臺北藝術大學/音樂學院學術論文/音樂學系碩士在職專班/碩士(2012年)

https://doi.org/10.6835/TNUA.2012.00045

摘要

摘要
東方與西方在音樂美學的表現上本質是不同的，二十世紀的亞洲音樂在國際化與西方主導的大環境下，如何將傳統的哲思與新時代的創意結合，是許多作曲家追求的理想。本文從現代音樂的管弦樂作品出發，尋找實踐傳統東方文化精神的優秀作品，探討東方文化對現代音樂創作的影響，以期在當前以歐洲音樂為主流的環境中，尋找發展民族音樂的可能性，提供有志於音樂創作的作曲家，一個文化創新與傳承的參考。
亞洲現代音樂作曲家中，出生於台灣的江文也是成名最早的一位，他代表性的作品《孔廟大晟樂章》(1939)，從表現東方文化的重要性與再造雅樂的時代意義，都值得深入探討。江文也從祭孔雅樂和儒學的關係上觀察音樂的特徵，瞭解其音階、和聲、形式結構所表現的哲學涵養，加入當代音樂的創作概念，以管弦樂手法表現東方的人文精神。另外，國際知名的韓國作曲家尹伊桑，其管弦樂代表性作品《禮樂》(1966)，以韓國雅樂的概念體現東方「道」之哲學。「道」是東方哲學的一個重要概念並表現在各項藝術中，尤其在中國書法藝術中，陰陽與形勢的配合十分重要，它深深影響了書法力與美的展現。尹伊桑將「道」的精神與陰陽學說以「主幹音」的概念運用於管絃樂，使管弦樂團也能表現出東方音樂哲學的陰陽之美。《禮運大同篇》是儒家哲學的的著名篇章，台灣當代作曲家潘皇龍於1986-1990年完成《禮運大同篇》管弦樂協奏曲，以三個獨立樂章表現孔子大同世界的理想。潘皇龍的音樂雖然以前衛著稱，卻經常表現東方的哲學精神，將他留學歐洲所學的音響創作技巧，結合東方造字的藝術精神與意象概念，試圖表現儒學「禮」、「仁」與「和」的善美精神，以及現代社會的大同景象；另外，他更將音響技法與東方「意境」哲學做深入的結合，展現了東方音樂「大樂必簡」的非凡氣度。
本文以這三首管弦樂的作品為例，體察三位作曲大師傳統文化的深厚基礎，瞭解他們如何從傳統出發，表現新時代的藝術風貌，探討他們將儒道思想體現於現代音樂的成就與成果，期待國人與當代藝術家，也能運用傳統元素轉化成新時代的能量，將東方的音樂美呈現在世界的舞台上。

關鍵字

儒道思想、雅樂、《孔廟大晟樂章》、《禮樂》、《禮運大同篇》

並列摘要

Abstract
The essence of performance in musical aesthetics is different between the Western and East culture. The Asian music of 20th century is in the environment which is led by the West and internationalization. How to combine traditional philosophy and modern creativity is the composers’ ideal. This study starts from the orchestra of modern music, searches the outstanding composition which is put the Eastern traditional culture into action, and discusses the East culture how to effect the modern composition. In the mainstream led by Europe nowadays, the study seeks the possibility which could develops their own music traditions and supplies the references of the cultural innovation and heritage to the composers.
Chiang Wen-Yeah who is born in Taiwan is the first celebrity of the modern composers in Asia. His masterpiece “Confucian Temple Rites” (1939) is worth probing by the importance of the Eastern culture and the era meaning of the innovative court music. Chiang Wen-Yeah observes the characters from the relationship between Confucian court music and teachings, comprehends philosophical knowledge of the scales, harmony and form, adds the creative conception of the modern music, and expresses the Eastern humanism spirit by orchestra. Besides, the well-known Korean composer, Isang Yun. His orchestral masterpiece “Reak”(1966) reflects the East “Taonism” on the Korean court music. “Taonism” is the fundamental notion in the East philosophy. It represents in every aesthetical field, especially calligraphy which is emphasized on the yin yang doctrine and form coordination. These factors profoundly effect on the strength and aesthesis of calligraphy. Isang Yun uses the spirit of “Taonism” and the yin yang doctrine on the orchestra by the concept of “houptton”. “Harmony Of The World” is the famous chapter of Confucian philosophy. The modern composer in Taiwan, Pan Hwang-Long, had completed “Harmony Of The World” orchestral concerto in 1986-1990. This concerto is applied three unattached movements to represent the ideal harmony world in Confucianism. Although Pan Hwang-Long’s music is well-known for avant-garde, he often shows the mind of the East philosophy. He uses the creative skills which he had learned during the period of studying in Europe and combines the spirit and imagery of the East text creation. By above mentioned, he attempts to express not only the ritual, humble and peaceful essence in Confucianism, but also the harmony scene in modern society. Furthurmore, he represents the extraordinary magnanimity of “Great Music is Simple” in the East music by linking acoustics skills and the East
artistic conception together.
This study takes three orchestral compositions as examples for observing the cultural foundation of three composers, understanding how to start from the traditions, expressing the artistic style in modern times, and discussing the accomplishment that they reflect Confucianism on modern music. For the nationals and modern artists, this study is expected for transforming the energy in modern times and performing the
musical aesthesis of the East culture on the international stage.

並列關鍵字

Confucianism, Taonism, court music, “Reak”, “Confucian Temple Rites”,“Harmohy Of The World”

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