- 期刊
＜青春之歌＞—以金希文作品為例探討原住民音樂於當代音樂語法中之重製與再現
An Inquiry into the Re-creating of Aboriginal Music in Contemporary Manner: Illustrated with Gordon S. W. Chin's Composition "Song of the Youth"
摘要
「藝術之創新」與「傳統之保有」，在美學、創作精神等多重思考層面上，看似彼此扞格，特別是於當代音樂及前衛藝術創作形式上。然而從另一方面來思考，事實上許多當代藝術家與作曲家，仍不斷地在傳統價值及舊有之藝術作品中，尋找自身創作的原始素材與思考基礎。因而，如何在創作維新的過程中，將舊有傳統元素或音樂素材重製與再現，並賦予其新的價值及異於傳統內涵之當代思維，即成為許多當代藝術家與音樂創作者思慮之方向與創作主軸。＜青春之歌＞又名＜給合唱與管弦樂的無言之歌II＞，為台灣當代作曲家金希文2002年之音樂創作，作曲家透過西方當代音樂之形式及語法，融合並重製台灣原住民音樂素材—以「類鄒族」的旋律素材為主，融入布農族及阿美族之音樂特徵，且用aba-laba、wis-wis…等真有原始語言味道之母音取代具實質涵義的歌詞，呈現出原住民音樂本質所象徵台灣源頭最純真、乾淨旺盛的青春感，與對宇宙萬物一切生命源頭之敬拜。本文就＜青春之歌＞之音樂譜面作結構上的分析，並探究作曲家以「類鄒族音樂」為符徵所隱含之內在意涵（符旨），及音樂風格所呈現之原始風格與後現代取向。
並列摘要
Innovation and the preservation of tradition seem to be two conflicting concepts, especially in contemporary music and other forms of avant-garde arts. And yet how to represent traditional music remains one of the important topics for the innovation attempted by every musician. Perhaps it not only requires them to re-create and represent these traditional musics, but also to give them a new life in the context of contemporary way of thinking.”Song of the Youth” for chorus and orchestra, composed by Gordon S. W. Chin in 2002, can serve as a good example. In this composition, Chin integrated the musical characteristics of three Taiwanese aboriginal tribes, including Tsou, Bunun and Amis, to represent them by means of contemporary manner and syntax. Chin employed the ”quasi –Tsou” melodies and also the protolanguage (aba-laba, wis-wis.…etc. ) to substitute for concrete Iyrics. Through these techniques, Chin captures the innate character of Taiwanese aborigines, which Iies in the purest and Iively sense of youth and their reverence for the universeThis article aims to analyze the musical structure of the composition at firs t. Then it will examine the significance of ”quasi-Tsou” materials in it. Finally it will discuss the traditional and post-modem styles which appear in this piece of music.