《琵琶行新藝》－史惟亮《琵琶行》創作理念之研究並融合電子原音創作詮釋

Abstract

近年來隨著現代科技的進步，開啟了民族音樂與數位時代對話的新契機。而作為數位時代音樂的代表，「電子音樂」給予一個超越音樂概念的新思維－「聲音」，在不設限的聲響概念中，擴大了能涵蓋古今中外各種文化音樂的可能性。史惟亮(1925-1976)為臺灣第一批留學歐洲的音樂人才，其創作除帶有前衛的思潮外，仍保留了濃厚地民族氣息，例如1968年其以中國文學中的大作《琵琶行》所創作的室內樂曲，即融合了諸宮調及五聲音階的概念於現代音樂的架構及複調和弦裡，可做為日後臺灣後輩作曲家，在全盤西化教育下從傳統中求創新的典範。

本論文欲透過史惟亮《琵琶行》對於民族音樂與現代音樂結合的創作理念，融合電子音樂的技術及琵琶和聲樂的創作意識，探究以「傳統為體，技術為用」的新方向來創作屬於民族的現代電子音樂；並思考如何將傳統音樂文化價值與精神，應用在近年來迅速發展的影音媒體技術，藉由「傳統」與「創新」的結合，為音樂文化的保存與傳承，探索新的未來。With the progress of technology, the connection between Ethnomusicology and digital world has been created with a new possibility. As the new invention of digital world, electronic music presents a new concept of "sound" which enhances all kind of cultures across the generations and spaces. Su Wei-Liang(1925-1976) is one of the Taiwanese composers who studied aboard in early period. His works blend with western modern thought and the ethnic material. As one in his pieces, the song "Song of the Pipa" composed in 1968 was constructed by Chinese five-tone scale, poly-modal and multi-tonalities in modern music. Su Wei-Liang is also a role model for younger composer afterward.

This research would like to investigate the new direction of modern composition through the composition idea from Su Wei-Liang's "Song of the Pipa", and re-compose with electronic music, pipa and vocal, exploring the possibility through the combination between the essential of tradition and the use of technology. Moreover, re-thinking and reflection about how cultural values and spirit of traditional music can be preserved and heritage as the combination of traditional and innovation through the application of the rapid development of audio-visual media technology.