現代箏樂與城市地景之融合—以《時代》、《燁然/熒》為例

Abstract

「景」在古箏音樂創作中常作為靈感來源，承載著情感表達與文化寄託。隨著時代變遷，現代箏樂的創作範疇已從傳統的山川風景拓展至城市地景，呈現都市化進程中的文化特徵與生活意象。本文以現代箏樂與城市地景的融合為主題，選取鄧翊群於2018年創作之古箏與鋼琴曲《時代》與王媛平2017年創作之古箏與KoTo曲《燁然/熒》兩部作品為分析對象，探討當代箏樂如何突破傳統框架，結合都市音樂語言，展現城市的多樣性與複雜性。研究採用文獻回顧、樂譜分析、訪談法與比較分析，深入解讀作品的創作背景、音樂結構和技法應用。研究結果顯示，《時代》以時間為主軸，通過上海外灘海關大樓的報時鐘聲《東方紅》貫穿全曲，藉由古箏與鋼琴的對話，展現上海從清晨至夜晚的城市變遷與人文情感。《燁然/熒》分為兩個樂章，結合古箏與KoTo，描繪東京與橫濱的夜景，其中，〈燁然〉以三連音和十六分音符的節奏交錯，營造出燈光層疊的繁華效果。〈熒〉則以音色與力度的對比表現橫濱夜空的靜謐氛圍。兩部作品在音樂中融入人工調式、現代節奏及音色變化，以創新技法詮釋城市地景與文化情感，展現現代箏樂結合城市地景的多元可能性。本文為箏樂創作與演奏實踐提供理論支持，並為未來箏樂藝術的發展提供了新的方向和啟示。

In the world of Zheng music composition, “scenery” often serves as a powerful source of inspiration, capturing a range of emotional expressions and cultural symbolism. Over time, the themes explored in modern Zheng music have broadened, moving beyond traditional landscapes to include urban cityscapes. This shift reflects the unique cultural characteristics and vibrant life imagery that arise from urbanization.The present study delves into the integration of contemporary Zheng music with urban landscapes, focusing on two notable works: Times, a piece for Zheng and piano composed by Deng Yi-Qun in 2018, and Ye Ran/Ying, a composition for Zheng and KoTo by Wang Yuan-Ping in 2017. It aims to investigate how modern Zheng music breaks away from traditional boundaries, incorporating urban musical elements to capture the richness and intricacies of city life. This study employs multiple methods, including literature review, score analysis, interviews, and comparative analysis, to investigate the creative backgrounds, musical forms, and technical applications of these pieces.The findings reveal that Times revolves around the theme of time, with the iconic chimes of the Shanghai Customs House clock—The East Is Red—as a recurring motif. The piece artfully depicts the transitions of Shanghai from dawn to dusk through the interplay between the Guzheng and piano, highlighting the city’s transformations and cultural emotions. Conversely, Ye Ran/Ying consists of two movements and intertwines the sounds of the Guzheng with the Japanese Koto to illustrate the vibrant nightscapes of Tokyo and Yokohama. In Ye Ran, the use of triplets and sixteenth notes creates a dazzling effect, reflecting the layered lights that symbolize urban prosperity, while Ying employs various timbres and dynamics to convey the serene atmosphere of Yokohama’s night sky.Both compositions incorporate artificial modes, modern rhythms, and tonal variations to reinterpret urban landscapes and cultural sentiments with innovative techniques, demonstrating the diverse possibilities of contemporary Zheng music in capturing urban imagery. This study provides theoretical support and practical reference for Zheng music composition and performance practices, hoping to offer new directions and inspiration for the future development of Zheng music.