台灣作曲家馬水龍、潘皇龍、曾興魁、錢南章留德回國後(1980年代至今)作品風格之比較研究

Abstract

本計畫想要研究台灣當代四位重要作要作曲家：馬水龍(1939-)、潘皇龍 (1945-)、曾興魁(1946-)、錢南章(1948-)，留德回國後(1980 年代至今)之音樂創 作發展與風格特色。他們如同其他台灣第三代作曲家在創作生涯歷經了三個階 段：出國留學前學習西方傳統的音樂創作法來奠定作曲基礎時期、留學接受西洋 現代及前衛風格的洗禮的時期，和回國後找尋自我風格及文化認同的時期。在第 三個時期，這四個作曲家為了找到自我風格獨特性及文化主體性，都嘗試尋求結 合東方與西方、傳統與現代、全球化與在地性結合的音樂內容及形式，以反映台 灣多元的社會及它渴求文化主體性的現象。所以由創作題材方面來看，他們從留 德時期以中國傳統文化為主，轉而加入台灣本土素材，以表達對生長居土地的關 懷；而由音樂風格與技法來看，則由留德時期的前衛及嚴謹的西方現代音樂技法， 轉而趨向較保守的現代語法。這樣轉變的原因，一方面是由於作曲家創作從留學 時期以學習現代最新的音樂技法、結構與形式為焦點，轉而以尋求台灣音樂文化 的主體性為焦點，來反映台灣的時代精神；另一方面是因為反映出台灣整體大環 境對於西方前衛與現代音樂的接受度不高。 本計畫希望透過對他們回國後重要作品的研究，對他們回國後的音樂發展、風 格特性作系統性的論述，來對這四位作曲家作更完整的研究，另外嘗試比較及歸 納他們此時期發展的異同點，來對台灣現代音樂研究提出一己之力。

A Study of Ma Shui-long’s, Pan Hwang-long’s, Tzeng Shing-kwei’s and Chien Nan-chang’s Works after their Study in Germany(since 1980) In this study, I will try to research the works of four important modern Taiwanese composers: Ma Shui-long, Pan Hwang-long, Tzeng Shing-kwei, and Chien Nan-chang, specifically those which were composed after their overseas study in Germany (since 1980). They belong to the third generation of modern Taiwanese composers. All of them have three different compositional periods: (1) the learning of traditional compositional technics of western music before their overseas study. (2) the reception of new technics of modern western composers during their overseas study. (3) The searching of their own compositional styles and cultural identity after their overseas study. In the third period (since 1980), they try to combine different elements of eastern and western, traditional and modern, global and domestic in their compositional matter and form, in order to find their particular styles and cultural subjectivity. These works reflect in some way the Taiwanese multicultural society and its longing for cultural identity. Their concern in this period turned from the Chinese traditional elements to the adding of some domestic elements of Taiwan as caring their own country, where they grow up. Their musical languages and technics turned likewise from avant-gardical to more conservative style. The reason of this transition lies on the one hand in that they focused on learning new technics when they were in Germany, and after returning home they were longing for their own cultural identity for the reflecting time-spirit in Taiwan; on the other hand in that the avant-gardical and modern music were little accepted at that time. In this project, I will attempt to make systematic research of the developments and styles-changing of the above-mentioned composers after their overseas study in order to offer a whole picture of their works. Besides, I will attempt to make a comparison among them and find out their common character, as my contribution in the field of musicological study of Taiwan modern music.