傳統與現代的融合:李泰祥實驗性創作手法探究

Abstract

李泰祥 (1941-2014)，一位風格獨異的當代作曲家，他觸及的音樂領域多元、廣泛，無論嚴肅音樂、藝術歌曲、通俗歌曲、原住民音樂乃至電影廣告配樂，都是他創作的題材；同時他也創作具有前衛性、實驗性的現代音樂，開展了他更豐富的音樂創作視野。 1960年以降積極參與各項現代音樂活動，其在「製樂小集」、「現代音樂舞蹈藝展」中呈現的作品，即已印證李泰祥早期創新與探索的音樂風格。1972年9月應美國國務院邀請，赴加州大學聖地牙哥分校實驗音樂中心觀摩研習、發表作品。次年回國後，陸續舉辦八次「傳統與展望」個展，實踐既傳統又現代的音樂理想與成果。 本文主要對臺灣現代音樂活動的推展下，李泰祥的創作手法與音樂風格之研究。其中相關的音樂創作實例分為二部分，一為早期大膽、實驗的音樂作品，二為傳統與創新的現代音樂。第一章「李泰祥現代音樂活動與創新」，詳述李泰祥現代音樂推動的工作歷程，一覽該階段原創性的創作思維；第二章「李泰祥實驗性素材之手法運用」，從實驗音樂的獨特語言試圖討論其音樂作品中不同的媒介、形式與創作思維；第三章「二首室內樂作品分析」，從《運行篇》與《三式：氣、斷、流》室內樂編制的作品，探討李泰祥融合二十世紀西方音樂的語法與傳統音樂精神的嘗試。 綜合以上分析，在「結論」中歸納李泰祥音樂作品的表現與其在臺灣現代音樂創作階段所建立的發展與實踐作為日後延伸其他研究的參考。Li Tai-Hsiang (1941-2014) was a contemporary composer with peculiar styles, having a wide range of creations in different musical areas, including serious music, art songs, popular songs, aboriginal music and even soundtrack. In addition, to further broaden his horizon in music creation, he composed avant-garde, experimental modern music as well. Li had actively participated in various activities of modern music since 1960. His works in “Zhiyue Xiaoji” and “Contemporary Music and Dance Exhibition” authentically represented his innovative and exploratory music styles at early times. In September, 1972, invited by the United States Department of State, Li visited and presented his works in the center for Project of Music Experiment at the University of California, San Diego. The next year after he came back, he held eight exhibitions on “tradition and future” (Chuantong Yu Zhanwang) in succession, putting into practice his ideals of music that encompasses both tradition and modernism. This study focuses on Li Tai-Hsiang’s creative approaches and music styles in the context of modern music promotion in Taiwan. Examples of relative music works are divided into two parts: the daring experimental works at early times, and the modern works of tradition and innovation. Chapter one, Li Tai-Hsiang’s Modern Music Movement and Innovation, details his hard work on promoting modern music and his creative thinking of originality at that time. Chapter two, Li Tai-Hsiang’s Use of Experimental Techniques, attempts to discuss the different media, forms, and creativities in his works, from a perspective of the uniqueness of experimental music. Chapter three, Analyses of Li Tai-Hsiang’s Two Chamber Music Works, looks into Lianxing Bian and Styles: Chi, Cut, Flow, and discusses Li’s attempts to merge the syntax of the twentieth century Western music with the traditional music spirits. The conclusion chapter summarizes Li Tai-Hsiang’s music performances and his efforts to develop and practice modern music creation in Taiwan, which serves as references for further future studies.