小提琴樂曲移植至二胡演奏之研究-以《卡門主題幻想曲》為例 The transplanted erhu repertoire from the violin music - Sarasate's Carmen Fantasy

Date
2010
Authors
熊家宜
Chia - Yi, Hsiung
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Abstract
二胡由伴奏樂器不斷精進改良成為獨奏樂器,主要受到西方文化與小提琴的影響。隨著時間發展,二胡演奏的移植樂曲中,小提琴曲目占為多數,因此本文以小提琴樂曲移植至二胡演奏的曲目,作為研究主軸;高韶青移植的薩拉撒特《卡門主題幻想曲》,作為研究核心,以達到論述移植的現象、瞭解移植的手法與增添演奏的思維等目的。 首先對於移植小提琴樂曲的發展過程與歷史脈絡等,進行探討;同時比較小提琴與二胡兩者樂器,在文化背景、歷史發展、樂器結構、演奏手法等方面差異;以及分析移植的方法。進而搭配《卡門主題幻想曲》,作為舉例說明;再加入自身演奏詮釋的探討,使得本文研究包含理論與演奏兩面向。 在移植小提琴的樂曲,不只豐富二胡的演奏音樂,對於技術層面也達到正面效果;同時影響著二胡演奏音樂的發展。但在其過程中,仍需清楚瞭解二胡本身的樂器特質與文化定位,勿一昧追求技術,才能使音樂真實的內涵與本質產生,演奏出感動人心的音樂。
Because of the influence of Western culture and violin music, erhu has transformed from an accompanying instrument to a solo instrument. Over time, the main portion of the transplanted erhu repertoire has come from the violin works. For this reason, the thesis focuses on the violin-based repertoire for erhu and presents Sarasate’s Carmen Fantasy, arranged by George Kao, as the major example to demonstrate the phenomenon and means of transplantation. To begin with the development and history of transplanting violin pieces, the writer compares the differences between an erhu and a violin in the culture background, the history of development, the physic of both instruments, and the technique of performances. Moreover, the methods of transplantation are closely analyzed. To relate with personal experiences of performing the “Carmen Fantasy”, the writer covers both theoretical and empirical points of view. To summarize, the violin music had impacted the erhu world positively in several ways, such as enriching the musical language and challenging the performing technique. However, in the journey of modernization, all the erhuists should seek not only in technical perfection but also in fully understanding of their instrument for achieving the higher level of performing arts.
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Keywords
二胡, 小提琴, 移植, 卡門主題幻想曲, Erhu, Violin, Transplate, Carmen Fantasy
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