由台北市立國樂團的發展看交響化與西樂中奏裡猶疑的國樂主體性

The Uncertain Identity of Chinese Music: Symphonization and Adaptation from Western Music in the Development of Taipei Chinese Orchestra

王敏而(Min-Erh Wang)

指導教授 ： 楊建章

國立臺灣大學/文學院/音樂學研究所/碩士(2015年)

https://doi.org/10.6342/NTU.2015.01594

摘要

在二十世紀初期，為了追求中國音樂的現代化，中國知識分子及音樂家們開始將中國傳統樂器依據西方交響樂團的架構組成現代國樂團。隨著戰爭造成的移民潮，現代國樂團被傳播到東亞各地區。在目前東亞不同的社會脈絡中，現代國樂團在台灣、香港、中國大陸、新加坡等地有了不同的發展及名稱。目前這種合奏形式在台灣依舊稱國樂；在香港稱中樂；在中國大陸稱民樂、在新加坡則稱華樂。隨著70年代末期台、港兩地的大型國(中)樂團陸續成立；中國大陸的民樂團在文革的結束後重新恢復運作，以及80年代問世的一批大型國(中、民)樂團合奏作品，1980-90年代，國(中、民)樂交響化的討論在台、港、中三地作曲家、指揮家、演奏家間熱烈進行著。在這些討論中，「交響化」一詞成為整個西方音樂文化的縮影，並被視為一個與中國音樂文化相互參照的討論對象，兩岸三地的樂界人士藉由這些討論嘗試為國(中、民)樂團確立未來的發展方向。在交響化的討論中，大陸民樂家企圖建立「具有中國特色的現代民族管弦樂團」；香港則試圖尋找有別於追尋西方音樂美學的「中國式交響化」；台灣學者則開始提出交響化的國樂團，導致了國樂主體性的旁落，而國樂主體性一詞在2000年以後也逐漸成為台灣國樂圈在討論後續發展方向時所使用的詞彙。
然而何謂「國樂主體性」在現今的說法中卻僅及於交響化的國樂團不利於國樂主體性之建立，而缺乏更詳細的論述及完滿的答覆。因此，本文擬以台北市立國樂團歷史發展中與交響化討論最直接相關的西樂中奏作品為例，論述在北市國近年的代表性製作中「國樂主體性」面臨著與台灣國家認同類似的困境。

關鍵字

國樂交響化 ； 西樂中奏 ； 國樂主體性 ； 台北市立國樂團

並列摘要

In pursuing musical modernization, Chinese musicians in the early 20th Century began their projects by using Chinese instruments to replicate the European orchestras, thereby forming a contemporary Chinese orchestra. Subsequently, music of the contemporary Chinese orchestra was promoted as “Gouyue,” meaning “national music” in Chinese. After the Sino-Japanese War and the Chinese Civil War, the Chinese Orchestra was disseminated throughout the world as a result of large-scale emigrations. Currently among Asian countries, there are Chinese orchestras in China, Hong Kong, Singapore, and Taiwan; yet, occasionally they are named differently. In China, the genre was renamed to “Minyue,” meaning “ethnic music.” In Singapore the orchestra is referred to as “Huayue” (Chinese music); while in Hong Kong the term “Gongyue” that was used before the 1970s, was later replaced by “Zhongyue” (also meaning “Chinese music”). The name “Gouyue” is now only preserved in Taiwan. At the end of 1970’s, professional Chinese orchestras were established in Taiwan, Hong Kong, and mainland China. At the same time, a significant number of works requiring well-organized Chinese orchestras were composed, which triggered a debate on Chinese Music Symphonization (Guo Yue Jiao Xiang Hua) among the musicians and scholars from these same three places. In the discussions, musicians and scholars from Taiwan, Hong Kong, and mainland China tried to clarify the future of contemporary Chinese orchestra. Participants form mainland China wanted to establish a “Chinese orchestra which contain[ed] Chinese musical features”; Hong Kong sought for a “Chinese model of Symphonization” that was different from Western musical standards; while beginning in the 2000’s, Taiwanese scholars have argued that symphonized Chinese orchestras were disadvantageous towards the establishment of a Gouyue identity.
However, “Gou Yue’s identity” has not been well-discussed among the scholars who were making this argument. Hence, this article intends to clarify this question by arguing that the establishment of musical identity is related to the choice of traditional musical elements. Furthermore, Xi Yue Zhong Zou (Western work performed by Chinese orchestra) pieces produced by the Taipei Chinese Orchestra will be taken as examples to demonstrate that “Gou Yue’s identity” experienced a dilemma which is very much akin to the one that the Taiwanese national identity has been experiencing in recent years.

並列關鍵字

Guo Yue Jiao Xiang Hua ； Xi Yue Zhong Zou ； Chinese music’s identity ； Taipei Chinese Orchestra

參考文獻

陳慧珊(2011)，〈台灣公立樂團跨界展演初探─以臺北市立國樂團、國家交響樂團為例〉，《關渡音樂學刊》，第15期，頁135-166。

郭秀容(2005)，《現代國樂團(民族管弦樂團)樂器改革之研究》，台北：仙靖貿易有限公司。

艾瑞克•霍布斯邦(Eric Hobsbawn)(2002)，《被發明的傳統》(The Invention of Tradition)，台北：貓頭鷹出版社。

Ergur, Ali and Aydin, Yigit. (2006). Patterns of modernization in Turkish music as indicators of a changing society. Musicae Scientiae, 10: 89-108.

Yu, Siu Wah. (2011). From National Music to Pan-Chinese Music: The Modern Chinese Orchestra and its Surviving Contexts. Music and Culture, 24, 207-245.