傳統與現代的交匯 台灣原住民素材的應用與分析
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2012
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Abstract
「繼往開來」一直是藝術創作中重要的概念，近年來本土素材的音樂創作愈來愈受到高度重視，無論是在教育、作曲、演出上皆有所嶄進，本土素材的創作文化儼然形成風潮。
台灣原住民雖屬少數族群，但其文化的高度多樣性與豐富性無疑是世界文化中相當少有的，亦是臺灣相當可貴的文化資產，因此許多臺灣現代音樂作曲家紛紛向原住民音樂借鑑，藉由研究、實驗、融合創作出具有傳統內涵的現代音樂作品。
本篇論文藉由分析四位臺灣作曲家柯芳隆、李和莆與蕭育霆之作品，探討原住民音樂素材在創作中的實際應用，並延伸至現代音樂創作中的美學觀點，試圖在本土音樂素材的結合下闡述自身文化體現，結合「傳統」與「現代」兩種精神內涵，進而發展出屬於臺灣之新音樂語彙。
Passing down the old conventions to future generations has always been an important concept in artistic creation. In recent years, native elements have been highly valued in musical creation and used extensively in music education, composition and performance. Musical composition with a native touch has thereforebecome a popular style these days. Although a minority on their own, the Taiwan aborigines exhibit a rich and diversified culture, a rare treasure on the world stage as well as a valuable cultural heritage for Taiwan. Many contemporary Taiwanese composers hence try to study and understand the aboriginal culture; by analyzing and experimenting on the native elements, they are able to create modern musical pieces rooted in traditional spirits. Through a thorough analysis of the works of four Taiwanese composers: Wei-Liang Shih, Fan- Long Ko, Yu- Ting Shiao, and Hope Lee, the essay explores the use of aboriginal elements in the process of actual music composition. Based on the aesthetic viewpoint of modern music, the essay attempts to present how local culture, combined with native musical elements, is elaborated in the composers’ works, which incorporate both the “traditional” and “modern” spirits of Taiwan and further create a new musical language of its own.
Passing down the old conventions to future generations has always been an important concept in artistic creation. In recent years, native elements have been highly valued in musical creation and used extensively in music education, composition and performance. Musical composition with a native touch has thereforebecome a popular style these days. Although a minority on their own, the Taiwan aborigines exhibit a rich and diversified culture, a rare treasure on the world stage as well as a valuable cultural heritage for Taiwan. Many contemporary Taiwanese composers hence try to study and understand the aboriginal culture; by analyzing and experimenting on the native elements, they are able to create modern musical pieces rooted in traditional spirits. Through a thorough analysis of the works of four Taiwanese composers: Wei-Liang Shih, Fan- Long Ko, Yu- Ting Shiao, and Hope Lee, the essay explores the use of aboriginal elements in the process of actual music composition. Based on the aesthetic viewpoint of modern music, the essay attempts to present how local culture, combined with native musical elements, is elaborated in the composers’ works, which incorporate both the “traditional” and “modern” spirits of Taiwan and further create a new musical language of its own.
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原住民音樂, 本土音樂素材, 柯芳隆, 李和莆, aboriginal music, native musical element, Fan- Long Ko, Hope Lee