伊福部昭與江文也“民族性音樂作品”風格研究

江文也、伊福部昭是亞洲重要的作曲家，二人在創作之初互相觀摩、激勵，雖然在日本學習的環境相似，而且都以較現代技法及民族素材創作，但「民族主義」的層面及民族性風格在追求方向是有不同的，這些追求逐漸成為他們的文化記憶與文化傳統的一部份；伊福部昭「民族主義」風格轉變，由「日本層面」推演至北海道愛奴人「古老歌詠的旋律」風格，再由「現代主義」嘗試之後，進而轉向日本雅樂文化、歌詠亞洲的音樂。而江文也「民族主義」風格轉變，由「想像中」的台灣風格出發，在俄國作曲家齊爾品的音樂觀影響下，嘗試找出民族主體性而轉向中國風格，晚期鄉愁般的台灣情懷，作品也由最初極為繁複的「現代主義」回到單純真實。他們二人在文化記憶中，各自追求不同層面的民族性風格，進而突顯個人獨特的作曲風格，觀察他們創作轉折歷程，我們似乎可以發現某種存在於亞洲作曲家的特殊情境。二位作曲家的身影，將不斷激勵我們去思索亞洲音樂文化的未來。

關鍵字

民族性音樂；現代主義

並列摘要

Bunya Koh and Akira Ifukube were among the most important Asian composers. At the beginning of their artistic career, they inspired each other, and learned from each other. Though they both studied in Japan, and dealt with nationalistic source material in a modern way, they were different in their pursuits of Nationalism and in their styles. Their efforts had gradually become part of the cultural tradition of the nation. Akira Ifukube's Nationalism started from the nationwide level, adapting the ancient Ainu hymn originated in his hometown, Hokkaido, Japan. After underwent the contemporary dynamism, he ended up in Japanese classical music, singing for Asian music. On the other hand, Bunya Koh's Nationalism set out from an imaginary Taiwanese style. Later, being inspired by Alexander Tcherepnin, a Russian musician, to find out the national subjectivity, he adjusted Chinese style and wrote nostalgic Taiwanese music, returning to original purity from the complicated Modernism. The two composers strove to develop their own nationalistic style from different aspects, protruding their unique fashion. But still, we can find some common struggles shared by all the Asian composers in their lives. The way they lived will continue to inspire us to create a bright future for Asian music.