李和莆「臺灣系列」研究－臺灣民謠風嚴肅音樂作品的理念與實踐

Abstract

以民謠為基礎的音樂創作在歷史發展中是常態性存在的作品類型，作曲家藉著民謠素材的使用與自身國家、民族、土地產生最為直接的連結，尤其在十九世紀西方民族主義興起後，此現象更為蓬勃發展，帶有民族風的音樂作品從音樂發展的邊陲進而能與德、奧等音樂歷史傳承的正統風格分庭抗禮，百花齊放地豐富了當代音樂的多元性。 而臺灣的嚴肅音樂創作中，如何面對臺灣情懷的內涵是每一位作曲家的重要思索課題，參照西方的音樂發展，以臺灣民謠為旋律素材創作具有藝術性價值之作品是極為自然而合理的，在本論文中對此一類型之作品提出「民謠風」一詞以稱呼其創作語法，從歷史、文化、創作行為等面向討論形塑「民謠風嚴肅音樂作品」之定義。 臺灣當代作曲家中，李和莆的作品以民謠風格廣為流傳，其自2004年開始創作的「臺灣系列」成為臺灣民謠風嚴肅音樂作品類型的最佳例證，不僅在藝術價值上質量俱精，亦深受演奏家與愛樂者之喜愛，本論文即以此為出發點，對於李和莆「臺灣系列」進行作品目錄之整理，並進行音樂實體分析，以映證其藝術性之特質，完備「民謠風嚴肅音樂作品」之定義。

The music composition on the basis of folksong is a category that exists regularly in history. By using the source materials of folksong, composers make the most direct connections with their countries, races and homelands. This phenomenon thrives vigorously especially after the rise of western nationalism in the 19th century. Music works with ethnic styles advance from the margin of music development to being able to compete on equal terms with the classical style inherited from historical traditions of German and Austrian music, and enrich the contemporary music in its diversity. In the composition of Taiwan’s serious music, dealing with the essence of sentiments for Taiwan is an important topic to ponder for every composer. Taking the development of western music as reference, it is natural and reasonable to compose artistically valuable works with the use of Taiwan folksong as source materials for melody. This dissertation proposes the term “folk style” for the source materials of this type of works, and discusses the perspectives of history, culture and creation to give the definition of “serious music works in folk style”. Of all contemporary composers in Taiwan, Wen-Pin Hope Lee’s works are well-known for their folk style. His “Taiwan Series”, beginning in 2004, is the best illustration of serious music in Taiwan-Folk Style. This series not only has great artistic values in both quality and quantity, but is also deeply appreciated by composers and music lovers. Starting from this point, the dissertation makes inventory management of Wen-Pin Hope Lee’s “Taiwan Series” and analyzes the music itself to manifest its artistic characteristics and to complement the definition of “serious music composition in folk style”.