鍾耀光雙打擊樂協奏曲《秦王破陣樂》之探討
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2022
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《秦王破陣樂》最早起源於唐代，在經過時代的變遷後，雖然一度失傳，但經由各方學者研究及重新譯譜之後，將此曲繼續流傳下去，有許多作曲家以此曲作為創作題材，並重新編曲或創作出新曲子。鍾耀光所創作的《秦王破陣樂》，是以綜合打擊樂為主奏的雙打擊樂協奏曲。兩位演奏者在使用的打擊樂器中，一位演奏者主要使用中國打擊樂器，包含：雲鑼、排鼓、大堂鼓等，還有加上電鐵琴；另一位演奏者使用西洋打擊樂器，包含：大軍鼓、通通鼓、馬林巴木琴等。透過中西打擊樂的交融，使此曲擁有豐富的表現力。在演奏上，對兩位演奏者來說是一大挑戰，除了演奏者樂器的擺放位置、彼此都有複雜的旋律及節奏外，也考驗著演奏者彼此之間的默契。本次研究主要探討鍾耀光《秦王破陣樂》。透過兩個聲部之間的分析與詮釋可以更加了解作曲家在創作此曲的想法及中西打擊樂器的選用，例如：兩位演奏者在快板中都有加入金屬樂器，要表達戰爭時刀光劍影的畫面。進而探討中西打擊樂在國樂團的發展，可以得知打擊樂在樂團中的運用是更加廣泛及多元。
The music Chin Wang Po Chen Yueh (Emperor Qin Crushing the Battle Formations) dates back to the Tang dynasty. As the time goes by, though once lost, this piece of music was studied and re-translated by different scholars, thereby continuing to live on. Many composers use this piece as the subject of their works and re-arrange or create new pieces. Of all the music pieces, the one that interests me most is created by Yiu Kwong Chung. It is a double percussion concerto based on multiple percussion. Among the percussion instruments used by the two players, one player mainly plays Chinese percussion instruments, including yunluo, paigu, and Chinese bass drum, as well as vibraphone; the other player plays Western percussion instruments, which includes bass drum, tenor drum, and marimba. Through the fusion of Chinese and Western percussion, this piece has rich expressiveness. It is a big challenge for both players in terms of performance. In addition to the placement of the players’ instruments and the complexity of melody and rhythm, it also tests the tacit understanding between the two players.This study mainly discusses the parts of the two concertos in Yiu Kwong Chung’s Chin Wang Po Chen Yueh. And through the analysis and interpretation of the two parts, we can better understand the composer’s idea in creating this piece and his selection of Chinese and Western percussion instruments. For example, two players both use metal instruments in the allegro to simulate the sounds of swords and weapons on the battlefields. Then I’ll further discuss the development of Chinese and Western percussion in Chinese orchestras. It can be seen that the use of percussion in the orchestra is extensive and diverse.
The music Chin Wang Po Chen Yueh (Emperor Qin Crushing the Battle Formations) dates back to the Tang dynasty. As the time goes by, though once lost, this piece of music was studied and re-translated by different scholars, thereby continuing to live on. Many composers use this piece as the subject of their works and re-arrange or create new pieces. Of all the music pieces, the one that interests me most is created by Yiu Kwong Chung. It is a double percussion concerto based on multiple percussion. Among the percussion instruments used by the two players, one player mainly plays Chinese percussion instruments, including yunluo, paigu, and Chinese bass drum, as well as vibraphone; the other player plays Western percussion instruments, which includes bass drum, tenor drum, and marimba. Through the fusion of Chinese and Western percussion, this piece has rich expressiveness. It is a big challenge for both players in terms of performance. In addition to the placement of the players’ instruments and the complexity of melody and rhythm, it also tests the tacit understanding between the two players.This study mainly discusses the parts of the two concertos in Yiu Kwong Chung’s Chin Wang Po Chen Yueh. And through the analysis and interpretation of the two parts, we can better understand the composer’s idea in creating this piece and his selection of Chinese and Western percussion instruments. For example, two players both use metal instruments in the allegro to simulate the sounds of swords and weapons on the battlefields. Then I’ll further discuss the development of Chinese and Western percussion in Chinese orchestras. It can be seen that the use of percussion in the orchestra is extensive and diverse.
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秦王破陣樂, 破陣樂, 雙打擊協奏曲, 鍾耀光, Emperor Qin Crushing the Battle Formations, Po Chen Yueh, Double Percussion Concerto, Yiu Kwong Chung