董榕森之高胡作品研究—以《一葉蘭》與《七夕吟》為例

Abstract

董榕森是一位重要的國樂作曲家，也是臺灣國樂教育開疆闢土的先鋒。1949年他投筆從戎考取了海軍軍士學校，並在1956年時進入政戰學校音樂系進行訓練，開始投入創作。1962年寫下生平的代表性作品之一，高胡獨奏曲《一葉蘭》。兩年後（1964年）因病而奉准退伍，此後致力國樂發展。筆者於國小參加國樂團時便已接觸到董榕森的二胡作品，而在多年後進入臺灣藝術大學國樂系就讀。實際擔任二胡教師後有更多機會接觸到創科主任的胡琴作品與教材。戒嚴時期的社會情形對於國樂作曲家與演奏者有何影響？為何國內的胡琴考級檢定與賽事多年來都選擇了董榕森的作品作為指定曲？他的胡琴作品具有什麼樣的重要性與代表性？甚至是他的作品對於國樂的教育產生什麼樣的深遠影響？這些都引發著筆者的好奇心。本文之研究透過研究臺灣在戒嚴與解嚴的時空背景對於音樂的影響，且聚焦於早期國樂曲荒以及至今的臺灣國樂發展，並選擇了兩首董榕森的高胡作品《一葉蘭》與《七夕吟》來進行樂曲結構分析與詮釋。希冀透過此次研究能使國樂發展的脈絡與作品的連結，進而更加精準詮釋出樂曲。

TUNG, Yung-Shen is an important composer of Chinese classical music, and an important advocate of Chinese classical music education in Taiwan. In 1949, he enrolled in the ROC Naval Technical School, and in 1956 he entered the music department of the National Defense University, where he began teaching and composing. In 1962, he wrote one of his most iconic compositions, Windowsill Orchid, a solo for Gaohu. In 1964, he was discharged from the army due to illness, and since then has devoted himself to the development of Chinese classical music.The author was exposed to Tung's erhu compositions when he was a member of the Chinese Orchestra at his elementary school. Years later, he enrolled in the Department of Chinese Music of NTUA. As an erhu teacher, the author had more opportunities to come across the works and teaching materials of Tung, who is a pioneer in this field. How did the social situation during Martial Law affect the composers and performers of Chinese classical music? Why have Tung, Yung-Shen’s compositions been chosen as the official compositions for domestic Huqin examinations and competitions for so many years? What is the significance of his Huqin compositions, and what do they represent? What is the profound and lasting impact of his compositions on the education of Chinese classical music? All these questions have aroused the author's curiosity. This paper investigates the influence of Taiwan’s Martial Law and post-Martial Law periods on Chinese classical music, with a focus on the development of Taiwan’s Chinese classical music from its early years to the present day. The author has selected two of Tung, Yung-Shen’s Gaohu compositions Windowsill Orchid and Tanabata Lament for analysis, focusing on their compositional structure and their interpretations. Through this research, the author hopes to make connections between these two compositions and the developmental context and trajectory of Chinese classical music, thus developing more accurate interpretations.