莊文達Wen-Ta Juang林佩瑛Pey-Ying Lin2019-09-06不公開2019-09-062014http://etds.lib.ntnu.edu.tw/cgi-bin/gs32/gsweb.cgi?o=dstdcdr&s=id=%22GN0099903101%22.&%22.id.&http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/108461台灣音樂自西樂引進以來，歷經幾次政權移轉及融合，間接受到西班牙、日本等不同文化與音樂類型的影響，戰後一批隨中央政府播遷來台的音樂家，以及在日據時期赴日習樂的音樂家們共同努力耕耘之下，落實音樂教育、積極培育國內音樂風氣，及建立可供音樂家們發表與展現之音樂環境。台灣合唱音樂的發展、合唱曲的風格表現，都跟隨著社會、環境的脈動，1987年戒嚴解除，本土意識的抬頭，使台灣的傳統藝術受到重視，許多作曲家也以台灣本土素材來改編或創作合唱曲。台灣的音樂創作，融合了各族群的文化精髓，透過中、西方的創作技巧，勾勒出無伴奏合唱曲在台灣的發展與脈絡。Taiwanese music has been affected indirectly by a variety of cultures and musical types from Spain, and Japan since Western music was introduced. With a number of Taiwanese musicians like those studied in Japan during the period under Japanese colonial rule and those moved to Taiwan from Mainland China in the 1940s working together, music education was implemented. The climate of domestic music was actively cultivated, forging a music environment beneficial to musicians’ performance. The development of Taiwan’s choral music and its style of performance with the evolution of social environment. After the martial law was lifted in 1987, rising local consciousness led Taiwan's traditional artist to be paid more attention. Many Taiwanese composers tried to adapt or create choral music with local elements. Taiwan’s music is mixed with the cultural essence of the various ethnic groups, and thus sketches out the development and context of a cappella music through both Chinese and western creative skills.台灣作曲家合唱曲無伴奏合唱曲Taiwan composerchorusA cappella