當代箏樂的多元文化性 －以樊慰慈箏樂創作中的世界音樂元素為例

Abstract

自二十世紀中葉以來，無論在大陸或台灣，箏樂藝術皆在演奏家與作曲家筆下創作出各種多元的現代作品。然而箏樂家所擅用的創作素材大多以傳統與地方音樂特色為基礎，作曲家則因專業背景的差異有別於演奏家的創作思維，在為箏樂創作之曲風上有不同突破，而現代箏樂作品中較特殊的風格之一，即以世界音樂的素材為靈感，創作出有別於傳統箏樂風格的新作。 在台灣箏樂的創作歷程中，梁在平自1950年代起即曾於其部分作品裡，嘗試局部運用世界元素。二十一世紀之後，作曲家暨箏樂家樊慰慈則在其系列創作中大量融入各種世界音樂元素，並呈現出獨特的風格，逐漸引起兩岸箏壇的重視。其作品具有兩大特色：一為獨創的演奏技巧與音樂織度，二為結合多元文化的音樂風格。臺灣的海島環境有利於吸收來自世界各地的多元文化，這種多元性乃成為當代臺灣社會文化的重要特質，而樊慰慈的箏樂作品即為這種當代文化多元性反映在音樂上的一種面相。其主要作品包含了採用琉球調式與爵士樂元素的《趣夢亂》與《星塵》，展現西班牙音樂風格的《眼神》，運用吉普賽音樂元素的《夜魔》等。 本論文之結構如下：第一章為緒論；第二章初步探討近代兩岸箏樂發展中具有世界音樂元素之箏樂作品；第三章為作曲家樊慰慈之音樂歷程與理念的詳述與訪談；第四章則以上述四首作品為例，試圖分析樊慰慈在世界音樂元素運用上的創作思維，進而探討其創作風格及演奏手法的特色；第五章結論試圖以宏觀角度審視當代箏樂之多元發展面相，以及樊慰慈作品對當代箏壇的影響。Since the Mid-twentieth Century, composers and performers in both Mainland China and Taiwan have contributed a variety of works in diversified styles to the zheng repertoire. While zheng performers tended to employ mostly traditional and regional folk styles to their works, composers, due to different professional backgrounds, have imbued contemporary zheng music with certain groundbreaking elements. One of the more specialized types of contemporary zheng music is inspired or based on “World Music” elements. In the context of zheng music, this research defines “World Music” as specific musical styles or elements originated from outside of the traditional Chinese music culture. In the history of music written for zheng in Taiwan, Liang Tsai-Ping first started exploring facets of world-music elements in 1950s. Since the turn of this Century, composer and zheng performer Fan Wei-Tsu has been employing a wider range of world-music elements in a series of works which started gaining attentions in the professional fields for its unique style. Two major characteristics of Fan’s zheng music are: 1, the original performance techniques and its corresponding musical texture unique to zheng music; 2, a music style incorporating multi-culture experience. Being a geographic hub on the west side of the Pacific Ocean next to Mainland China, Taiwan is rich in absorbing different cultures from different parts of the world. While “multiplicity” has become a major character of contemporary culture in Taiwan’s society, Fan’s original zheng works can be considered as a sensitive reflection of such phenomenon in music. His major works in this category include: Qu-Mong-Luan and Xingchen (Star Dust) which employs the Ryukyu scale and certain Jazz idiom; Yanshen (Upon Her Expressive Gaze) which evokes the music of Spanish guitar with a hint of Mediterranean flavor; Yemo (Dark Angel) which utilizes pungent Gypsy scales. This paper will first survey the employment of world-music elements in zheng music since the mid-twentieth Century and then focus on the aforementioned four works to study Fan’s creative thinking and its impact on the composing and performing styles of the contemporary zheng music. The structure of this thesis is as follows: Chapter One is the Preface; Chapter Two surveys contemporary zheng music in both China and Taiwan which involves world-music elements; Chapter Three deals with Fan Wei-Tsu’s music background and artistic concept, based on the author’s in-depth interview with the composer; Chapter Four tackles the above-mentioned four compositions by Fan in terms of formal and interpretive analysis, emphasizing on their exploration of world-music elements; Chapter Five summarizes the multiple facets in contemporary zheng music’s development and the impact of Fan’s works on modern zheng music.