久國．聲影 原創管絃樂曲作品與註釋

Abstract

《久國•聲影》完成於2011年六月，為一個單樂章管絃樂作品，共分為三個連續的段落。作曲者嘗試追求二十世紀初印象樂派音樂的美感，試圖以音的形成、持續與消失來尋求音樂色彩運用於創作的基礎。標題中的「久國」如消失、虛擬的國度，存在於虛實之間，故本曲不以表現完整、嚴密的架構為主要訴求，而欲表達一種聲音色彩瞬間的「聲影」印象。 樂曲採用近三管之管絃樂編制，由分別象徵「真」、「善」、「美」的段落組合而成。第一、二樂段的「真」、「善」，在速度、材料安排上為對比段落，描繪作曲者探索內心世界與尋找自我的歷程，而第三段「美」，則為「真」段落的再現，因此比例上稍長於較純粹主觀的第三樂段「美」。 創作理念之文字分為四章：第一章為緒論；第二章為本曲創作背景與動機，說明呈現「自我探索」歷程的樂曲構想；第三章為本曲創作思維與體現，透過樂曲素材與管絃樂配器分析，詳述此作品各段落所要表達的意涵以及音樂上的設計與安排，探討結構與內容的關聯性並創作理念的實踐與體現；第四章為總結，並對樂曲與文字部分作自我檢視。

RUNE'N REALM is a single-movement orchestral work completed in June 2011 and divided into three parts. The composer attempts to seek the aesthetic beauty found in the Impressionist music of the early twentieth century, and tries to use the formation, continuity and disappearance of sound to build the basis of employing timbre as a composition idea. The piece’s Chinese title Jiuguo (ancient realm) evokes an image of a disappearing and almost ethereal world, one that exists between dreams and reality, so its musical structure does not exhibit a complete and rigorous form, but rather tries to convey the impressions of sounds and shadows, color tones which come and go in a moment. The music is written for an orchestra with a mostly triple woodwind section. The three parts of the composition symbolize truth, goodness and beauty respectively. The first and second parts of the piece are more like a portrayal of the composer's own journey towards self-discovery, therefore, they are longer than the third part, which is more of a subjective view on beauty. A description of the conceptual thinking behind this piece is presented in four chapters. Chapter one provides a short introduction to the work. Chapter two explores the motives and background from which the piece is created. It also expands on the idea of using music to depict a journey of self-discovery. Chapter three describes the composition ideas behind the work and explains how these ideas are manifested in it. Through discussions on the orchestration of the piece, this chapter outlines the meanings expressed in each part of the piece and also the musical design and arrangements. This chapter also discusses the relationship between form and content, and explores the execution and realization of the composition idea. Chapter four is a summary that includes a self-reflection on both the composition itself and the commentary presented.