隱沒中的傳統與現代主義的交融－論朱踐耳第十交響曲《江雪》

The Fusion between Declining Tradition and Modernism an Essay on Zhu Jian-er′s Tenth Symphony "Fishing in Snow"

曾毓芬(Yuh-Fen Tseng)

《藝術評論》 15期 (2005/03) Pp. 27-72

摘要

第十交響曲《江雪》完成於西元1998年，是中國現代作曲家朱踐耳的交響曲作品中，頗具代表性的近期之作。朱踐耳這首交響曲展現了他一貫的實驗精神，以中國傳統戲曲聲腔與古琴獨奏融入西方交響樂的聲響，並將五聲音階的色彩揉進十二音的結構中，創造出一種穿透中西、橫亙古今的作品風格，此外，藉由柳宗元的《江雪》一詩以及古曲《梅花三弄》主題的加入，賦予全曲生動的描繪性與深層的指涉意義。
本論文之寫作旨在從不同的角度去分析、詮釋朱踐耳的第十交響曲，並對此曲的藝術成就作整體評論。全文的章法結構乃是依循著由外而內、從形式至內容的原則而鋪陳開來，共分為六個階段：第一階段，介紹朱踐耳音樂創作的歷史背景；第二階段，從聲音素材和樂曲形式的角度，來探討第十交響曲的結構意義；第三階段，專注於全曲之時間現象的描述；第四階段，以先前獲致的分析資訊為立足點，從事此曲有關指涉意義方面的詮釋；第五階段，針對此曲的人聲吟唱和古琴演奏兩部分，進行演奏詮釋上的研究；第六階段，則是一個宏觀式的評論，道出此曲融合隱沒中的傳統和現代主義精神的美學特質。

關鍵字

四音音集 ； 多重調性 ； 《梅花三弄》 ； 《江雪》 ； 結構意義 ； 時間現象 ； 指涉意義

並列摘要

Composed in 1998, Symphony No. 10, ”Fishing in Snow”, is a representative work among Chinese contemporary composer Zhu Jian′er′s symphonic pieces. Starting from his consistent experimental attitudes, Zhu fuses the vocal line of traditional Chinese dramatic music and the Zither Ch′in′s solo into western symphonic sound, and also combines the pentatonic color with twelve-tone sound in this work. Consequently, he creates a compositional style which penetrates the Chinese and Western culture and soars across the ancient and modem temporalities. Besides, by introducing Liu Zongyuan′s poem, ”Fishing in Snow”, and the theme of an ancient repertoire ”Three variations on plum flowers” into this music, Zhu bestows it the depth of referential meaning and vivid descriptiveness.
The academic aim of this essay is to analyze and interpret Zhu's Symphony No. 10 from different angles, and to evaluate its artistic achievement as a whole. The composition of the essay follows the principle of eclecticism, extending from the syntactical to referential level of music.
There are six stages in this essay. In the first stage, the historical background of Zhu Jian′er′s music is introduced; in the second stage, the syntactical meaning of Zhu′s Symphony No. 10 is explored from the viewpionts of musical elements and form; the third stage focuses on the description of temporal phenomena; the fourth stage is the interpretations of referential meaning according to the data acquired in previous analytical stages the fifth stage limits itself in the aspect of performance practice, specifically regarding the performing interpretation of vocal chanting and the qin, the Chinese seven-stringed zither in this piece; the last stage is an overall-view critique, which points out the aesthetics centered on the fusion between declining tradition and modernism in Zhu′s Symphony No. 10.

並列關鍵字

tetrachord ； polytonality ； "Three Variations on Plum Flowers" ； "Fishing in Snow" ； syntactical meaning ； temporal phenomena ； referential meaning

參考文獻

Babbitt, Milton(1955).Some Aspects of Twelve-Tone Composition.The Score.12,53-61.

Cook, Nicholas(1994).A Guide to Musical Analysis.New York:Oxford University Press.

Ferrara, Lawrence(1991).Philosophy and the Analysis of Music-Bridges to Musical Sound, Form, and Reference.U.S.A.:Excelsior Music Publishing Co..

Forte, Allen(1973).The Structure of Atonal Music.New Haven and London:Yale University Press.

Heidegger, Martin、王慶節、陳嘉映譯(2002)。存在與時間。台北:桂冠圖書股份有限公司。