論【風入松】在樂曲之運用－以箏曲《風入四季》為例

Abstract

在臺灣漢族傳統音樂中，北管音樂一直佔有重要的一席之地。因此，在近年來作曲家們的創作上，也開始大量使用北管音樂做為素材，嘗試運用北管音樂中各種不同樣貌、元素、動機……等，加以創作及編撰樂曲。在北管音樂做為素材的作品創作中，又以牌子的使用佔居多數。而北管諸多的牌子曲目中，因為【風入松】的多元變化，使得其被多位作曲者廣為運用，成為多首創作樂曲中的重要動機。本論文共分為五個章節。其中，第三章則針對【風入松】的創作加以探討。《漂》、《綺想風入松》、《蜂炮》、《舊城漫步》、《騰龍》五首樂曲，皆以北管牌子【風入松】作為創作動機，而其使用【風入松】的方式卻不盡相同，也成為本章所探討的重點之一。由於筆者翻閱呂錘寬所輯註的《牌子集成》中發現，【風入松】可分為古路、新路、倒頭、回頭、掛頭、緊、工管、六字、凡字、五馬等多種形式，使得筆者想嘗試從這五首曲目中，歸納整理出【風入松】的呈現方式，究其聲響、節奏變化、旋律運用等面向，進行研究及分析。透過研究分析以上五首樂曲後，本論文第四章中，則以樂曲《風入四季》，實踐將北管音樂納入箏樂素材創作。樂曲中筆者嘗試以【風入松】作為創作動機，結合多年的箏曲演奏經驗，以箏樂合奏的方式，呈現樂曲，使整體結構及和弦使用能有更多的層次與變化。樂曲中也適度融合古箏多變的演奏技巧，除豐富聲響，更希望透過【風入松】的融入與「四季—春、夏、秋、冬」主題的結合，為箏曲的創作，提供另一個不一樣的可能性，更期望能為臺灣漢族傳統音樂的發展，起到推廣與傳承的作用。In the field of traditional music among the Han Chinese in Taiwan, Beiguan music has consistently held a prominent position. Consequently in recent years, composers have increasingly utilized Beiguan music as a primary source for their compositions, and endeavored to employ various facets, elements, motifs, etc., which were found within Beiguan music to create and compile musical pieces. Among the compositions utilizing Beiguan music as source material, the majority prominently features the use of specific melodies known as “paizi.” The multifaceted variations of “Feng Ru Song” (Wind through Pines) have made it widely adopted by numerous composers among the diverse repertoire of Beiguan paizi, which builds a crucial motif in various original compositions.This thesis is structured into five chapters, with Chapter Three focusing on an exploration of the creative process behind “Feng Ru Song.” Five compositions, namely Piao, Qi Xiang Feng Ru Song, Feng Pao, Jiu Cheng Man Bu, and Teng Long. They all use the Beiguan melody “Feng Ru Song” as a creative motif, and each employs distinct approaches in its utilization, constituting a significant focal point of this chapter. By scrutinizing Lu Chui-Kuan’s annotated compilation Paizi Jicheng (Collection of Paizi), it is evident that “Feng Ru Song” can be manifested. in various forms such as Gu Lu, Xin Lu, Dao Tou, Hui Tou, Gua Tou, Jin, Gong Guan, Liu Zi, Fan Zi, Wu Ma, etc. Consequently, an effort is made to explore the presentation modes of “Feng Ru Song” via synthesizing analyses of the aforementioned five compositions, including their sound effects, rhythmic variations, and melodic applications.Following the research of those compositions, Chapter Four of this thesis presents the realization of incorporating Beiguan music into the composition of zheng music through the work “Feng Ru Si Ji” (Wind through Four Seasons). In this composition, the author attempts to use “Feng Ru Song” as a creative motif, drawing upon years of experience in playing the zheng, presenting the piece in an ensemble format that allows a richer and more varied overall structure and chord usage. The composition also blends in the versatile playing techniques of the guzheng. It not only enriches the sonic palette, but also provides an alternative possibility for zheng music composition through the integration of “Feng Ru Song” and the theme of the four seasons—Spring, Summer, Autumn, Winter. The intention of studying is to contribute to the development, promotion, and preservation of traditional Han Chinese music in Taiwan.