台灣現代音樂與「雲門舞集」之研究(I)

Abstract

計畫名稱: 台灣現代音樂與「雲門舞集」之研究 本計畫想要研究和「雲門舞集」合作的台灣嚴肅的現代音樂作品。「雲門舞集」 於1973 年創團時的宗旨中為：「中國人作曲，中國人編舞，中國人跳給中國人看」， 所以在雲門創團前十年(1973-1983)中音樂的運用主要是以台灣作曲家所創的音 樂為主，而與雲門合作過的音樂家幾乎囊括台灣當代重要的作曲家：史惟亮、許 常惠、許博允、馬水龍、賴德和、李泰祥、溫隆信、錢南章、戴洪軒、沈錦堂、 陳建台、陳揚、潘皇龍…等。而他們和雲門合作的音樂創作絕大部分也成為台灣 現代音樂中的經典之作。在1970 至1980 年代初期台灣現代音樂因為雲門得以產 生或是獲得重要的演出機會，是對於台灣現代音樂於這些年代可以蓬勃發展的重 要助力。相對地，這些精采的音樂創作，也是促進雲門舞作成功的重要因素。 「雲門舞集」獲得國內外的讚賞，回答了東方藝術家最關注的一個問題－東方 傳統性如何與西方現代性結合，而如何從中有創新的可能？雲門不只是在舞蹈動 作上成功的結合中國台灣的傳統性與西方現代性，這樣的東西融合的風格，也是 它所運用的台灣現代音樂的特色，所以與舞作整體風格上是有一致性。 本論文的目的，是要深入研究以下幾個問題意識： 1.台灣現代音樂與「雲門舞集」的關係，二者合作的歷史與背景 2.「雲門舞集」所運用的台灣現代音樂作品的風格與形式為何? 3.它們與雲門舞作的風格、形式與內容的關係為何? 是否也隨著「雲門舞集」於 不同創作時期風格的改變而改變? 4.這些「雲門舞集」運用的音樂之風格特色是否有共通點? 5.音樂的運用是否輔助舞作整體作為一種文化認同的符號? 音樂為雲門舞集藝術中很重要的一部分，釐清了上述的問題之後，我們不僅對於 這些和本國作曲家合作的雲門舞作有進一步的認識，同時也對於台灣現代音樂的 歷史與發展會有更深的理解。

The intention of this study aims at those works of modern Taiwanese music that were submitted by Cloud Gate Dance Theater[雲門舞集CGDT]. Founded in 1973, CGDT had his guideline as following: “The Chinese compose their own works, their own choreographies, and dance for their own audience”. Owing to this reason, in the first decade CGDT applied almost the music of modern Taiwanese composers in their program, including almost the main representative of them. Most of their compositions cooperated with CGDT became the classical works of their time. Those works during 70er were either submitted by CGDT or obtained their performance chance because of CGDT. These were so to speak the important impulse of the development of modern Taiwanese music. Reversely, those ingenious works are the important factors to the success of CGDT. The domestic and overseas success of CGDT is also an answer to the following question of all oriental artists: How can they combine the oriental tradition with the occidental modernity, and how can they create new possibility between them? CGDT has not only realized the goal of combining the oriental tradition with occidental modernity in the elements of dancing movements, but also succeeded in the application the similar characteristic with respect of musical elements, so that their musical styles are fully consistent with that of dance. Therefore, in this study the following questions will be asked by means of analysis of music: 1. What are the styles and the forms of modern Taiwanese music used by CGDT? 2. What kinds of relations are those musical styles to the choreographic styles, forms and contents of CGDT ? 3. Is there any common elements of those musical works used by CGDT ? 4. Is it a symbol of cultural recognition by using music as an auxiliary means to the choreography? Since music plays a very important role in the art of CGDT, and after the above-mentioned questions were exposed, we would have a better understanding not only of those works of domestic composers used by CGDT, but also of the history and development of modern Taiwanese music.