李志純箏樂作品研究

Abstract

李志純是一位出身臺灣的作曲家，先在國內完成學士後，後至美國取得碩士與博士學位。在接觸國內外的視野當中，找到自己的音樂語言，其創作的作品多次在知名的國際作曲大賽中獲獎。

在1998年創作第一首箏樂獨奏作品《凝》，接著陸續創作出三首別具特色以箏為主的作品，包括融入東、西方特色的古箏協奏曲《點、線、面》；一個主動機串連的《箏途》；及以中樂西奏方式呈現的《滬尾階醫館》。本研究將針對這四首箏樂作品，以兩大方面：「樂曲的結構分析」及「音響與意象之間」，就其定弦、樂曲結構與作品賦予之意義等不同面向進行細部的分析與探討，從中瞭解李志純的作品創作特點與表現手法。

透過分析歸納，其四首箏樂作品之風格特徵包括對樂器構造及其演奏法有深刻的瞭解；透過中英文標題的對照，能夠進一步了解樂曲內涵；使用各種理性、感性元素呈現其東、西方音樂思想；利用五聲音階傳達民族情感；本土素材與現代語法的無縫接軌；以拍號不斷的變化，展現自由奔放不受拘束的音樂觀；克服「箏」在樂曲中移柱才能轉調的限制下，以多調定弦不移柱的情況下，表現不同音樂風格。

本研究藉由李志純各階段的音樂歷程及四首箏樂作品，從中剖析其創作風格與箏樂藝術性。希冀能夠提供相關音樂研究者參考，讓更多人了解李志純於箏樂領域的貢獻與成就。

This thesis is an analysis of four contemporary compositions featuring the zheng —Thgirbla .W, Dots Lines Convergence, Zheng Tu and Mackay, by Taiwanese composer Chihchun Chi-sun Lee. Dr. Lee, who obtained her bachelor’s degree in Taiwan and has won many international prizes and features, found her own compositional language during her studies （two master’s degrees and a doctorate） after 1993 in the United States. This study reveals Dr. Lee’s unique musical voice that celebrates her Taiwanese origins in combination with American, European, and other Asian influences.

The earliest of the works studied in this thesis is her solo zheng composition Thgirbla .W in 1998; this work mixes Western jazz and Asian elements. The next piece in this group’s timeline is her zheng concerto Dots, Lines, Convergence which combines the features of Taiwanese and Western music. Next in this chronology is Zheng-Tu, a solo zheng work based on the primary concept of using different Pentatonic scale combinations in a single scordatura tuning. The most recent work in this research, Mackay, is a solo zheng piece using Western compositional techniques primarily to present the image of an important Taiwanese historical monument built by a Western Christian Missionary. The study of these four compositions explores Dr. Lee’s perspectives, methodology and characteristics of tuning, musical structure, implied narrative and sonority. Furthermore, this research also probes into the four time periods of Lee’s music as it is related to her zheng compositions.

This study is designed both as a source for general zheng research and as a focus on Dr. Lee’s contribution and achievement in the domain of contemporary zheng composition. Her inventive approach to the instrument’s techniques generates her novel application of stylistic freedom within a fixed scordatura. These techniques, combined with the merging of Asian and Western elements are the signatures of Chihchun Chi-sun Lee’s unique compositional style.