潮州音樂在箏樂創作之運用與探討——以《戲夢》、《賞蓮》為例

Abstract

古箏經過兩千多年的發展，在傳統箏樂方面形成以地域為分野的不同流派，包含河南、山東、客家、潮州、浙江…等箏派。再者，箏樂在20世紀中葉後快速發展，並且開發出多樣化的演奏技巧與諸多風格的樂曲，創作箏曲的素材來源更是多元。本文選用潮州音樂為素材的箏樂創作為研究主題，以李煒1995年創作之古箏獨奏曲《戲夢》與鍾耀光2020年創作之古箏協奏曲《賞蓮》為探討對象。二首曲目皆融合傳統潮州音樂元素與現代音樂手法，呈現古箏音樂的豐富多樣化與創新表現。首先，論文透過文獻回顧，介紹潮州音樂與箏樂的特徵，再從曲式結構與音樂特點等面向，深入分析《戲夢》、《賞蓮》二首箏樂作品與潮州音樂之關聯性。研究結果顯示，李煒將《戲夢》的曲式結構分成三大段落，顯現出鮮明的ABA形式，同時巧妙結合潮州音樂的韻味與潮劇的唱腔戲韻；而鍾耀光創作的《賞蓮》，則以不同的音樂素材展現多元性與創新性，除了潮州傳統音樂之外，更融入韓國音樂元素。二首樂曲皆表現古箏音樂在傳統與現代交錯中的無限可能性，為箏樂在潮州音樂素材的運用方面提供新的創作思路，同時也為現代音樂創作帶來新的啟發。此外，本研究亦探討《戲夢》及《賞蓮》之演奏詮釋，進一步加深對這二首作品的理解與表現，為箏樂演奏者提供演奏參照。The guzheng, with over two thousand years of development, has evolved into distinct regional schools, including Henan, Shandong, Hakka, Chaozhou, and Zhejiang styles. Since the mid-20th century, guzheng music has rapidly developed, diversifying in playing techniques and musical styles, with increasingly varied composition sources.This study focuses on guzheng compositions using Chaozhou music, specifically analyzing Li Wei's 1995 solo piece Xi Meng and Chung Yiu-Kwong's 2020 concerto Admiring the Lotus. Both pieces blend traditional Chaozhou elements with modern techniques, showcasing the richness and innovation of guzheng music. The research begins with a literature review on Chaozhou music and guzheng, then delves into the structural and musical features of Xi Meng and Admiring the Lotus. Results show Li Wei's Xi Meng uses a three-part ABA form, integrating Chaozhou music and opera. Chung Yiu-Kwong's Admiring the Lotus incorporates diverse musical materials, including Korean elements, demonstrating innovation. Both pieces highlight guzheng's balance of tradition and modernity, offering new directions for contemporary music. Additionally, the study explores performance interpretations, providing practical insights for guzheng players.