王範地、王直《瀾滄春曉》之音樂分析與研究

Abstract

中國傳統器樂作品，皆有以地方音樂或少數民族音樂作為音樂素材創作之樂曲，以展現其地方韻味與風格特色，而琵琶作為中國代表性樂器之一，有許多具有地方風情特色的作品，而以少數民族音樂為素材創作的樂曲亦有許多。本文以王範地、王直所創作之樂曲《瀾滄春曉》作為研究主題，探討拉祜族音樂概況及在樂曲中之運用。本文分為四個部分，第一部分，為作曲家及樂曲背景之探討，藉由文獻資料的收集與閱讀，透過王範地、王直兩位作曲家的生平與理論、樂曲創作背景及元素等追朔，進而釐清樂曲背後的創作由來及發展；第二部分為拉祜族音樂之探討，在內容方面，以拉祜族源流與發展做出發，介紹族群特有的文化及與音樂相關的生活方式，並進而研究拉祜族音樂體裁、特色及常見樂器；第三部分為《瀾滄春曉》樂曲的分析與詮釋，由上述的章節之研究及王範地琵琶指法的探討，藉此對應筆者對《瀾滄春曉》的分析與詮釋；第四部份則是結論，總結了每一章節中的重點，並闡述筆者在本文中所獲得之意義及研究成果。

There were pieces of music for Chinese traditional instruments that including composition material inspired by music of ethnics and natives. The music had been composed to express charm, scenery and life of people in certain places. Pi-Pa (Chinese lute-shaped instrument) is one of the most representative musical instruments in China and had been used to perform music that symbolized culture of natives. This article study “Early Spring In LanCang River (Mekong River)” by Wang Fan-Di and Wang Zhi, in order to investigate the general situation and the implementation of La-Hu tribe’s music.This article will be divided into four sections. The first section will discuss the background of the composers and music. By reading and backtracking collected data, biographies and composing idea from Wang Fan-Di and Wang-Zhi through different sources. The first part will clarify the concept and framework of the music. The second part will be investigating La-Hu tribe’s music. It will show the origin and development of La-Hu tribe, to explain the extraordinary of the culture and living style that related to music. Meanwhile, it also studies the music patterns, characteristics and instruments. The third part will be the analysis and interpretation of “Early Spring In LanCang River”, continue with the discussion of Pi-Pa performing skills by Wang Fan-Di. The last part will be the conclusion. This article will end up by showing key points, perspectives and results of the research.