隨著各領域傑出女性輩出,兩性帄等議題融入九年一貫課程中,性別議題亦受到重視。各個領域逐漸出現對於女性的研究與討論,但音樂領域相關的文獻卻非常缺乏。本研究旨在探討臺灣當代女性作曲家之創作歷程,以三位臺灣當代女性作曲家蘇凡凌、蕭慶瑜、趙菁文為研究對象,採用質性研究的個案訪談進行研究。 研究發現如下: 一、 臺灣當代女性作曲家之創作思維受到學習背景的影響:三位研究對象不同的學習過程影響其作品風格與特色,將人生體驗、生命想法與嘗詴性構想藉由音樂作品呈現。創作是她們目前最重要的自我表現,目前皆以委託創作為主。 二、女性特質與創作的關係:三位臺灣當代女性作曲家皆不認為女性特質會影響其創作,女性特質並不能藉作品分析得知,她們也不會在作品中刻意強調「女性」身分。研究對象提出女性在思維及觀察方面會較細膩,個性是影響創作的一個因素。 三、臺灣當代女性作曲家多重角色扮演與創作的關係:三位研究對象視多重角色扮演是她們當前面臨的重要考驗,但卻也是影響創作思維的寶貴經驗。面對喜愛的創作,三位都必頇學習調適,她們提出把握時間與有所取捨為解決方式,但因著對創作的熱愛,三位都不會因此放棄,也對於臺灣現代音樂未來發展充滿樂觀期待。 最後,本研究對教學、決策單位與未來研究等方面提出建議。
As the raising of feminine consciousness, there are more and more outstanding women in every field. The government also integrated the corporation of gender equity education with the Grade 1-9 Curriculum, so the gender issues are getting attention. Research and discussions about extraordinary women appeared in every field, but references about music remain insufficient. The purpose of this study was to investigate the composing process of three Taiwan contemporary women composers. Interviews with Fan-Ling Su, Ching-Yu Hsiao, and Ching-Wen Chao were conducted for data collection. The results were as follows: 1. The three Taiwan contemporary women composers thought that their compositions are influenced by their background, learning experience and personality, not gender. Composing is the most important way for them to reach self-achievement. Currently, compositions with commission are the major sources of their works. 2. The three Taiwan contemporary women composers thought that there’s no influence on their compositions from the feminine characteristics. They will not emphasize their female identity in their compositions. However, they considered that females are more thoughtful, observant, sensitive and delicate. Personality is a major factor of their compositions. 3. The three Taiwan contemporary women composers agreed unanimously that it’s difficult to balance all the roles they play in their lives, but they’ll take it for the most meaningful challenge. They will not give up their passion for composing, and they are optimistic toward the development of Taiwan contemporary music. Finally, recommendations are provided in three aspects: teaching, policy-making and future research.