吳亞璇打擊樂演奏會含輔助文件楊聰賢《聆》之樂曲分析與演奏詮釋探討

Abstract

楊聰賢為台灣作曲家，赴美學習後1991年回到台灣，將在美國學習的西方作曲手法融入東方傳統文化，將東西方藝術哲理脈絡融入本身的音樂創作，從作品標題到內容，皆可看出所受東方文化影響的痕跡。從筆者所受西方音樂教育環境及演奏觀念的背景來觀察此作品，並學習作曲家融會貫通東西方音樂語法的精神，探求新的演奏技巧及聲音理念。再者，研究楊聰賢音樂創作的相關論文有限(只到2002年)，近十年皆無相關創作論述的專書。本篇論文將補充2002年之後的音樂作品及創作觀點，從作品標題、編制及相關之藝術影響來認識作曲家創作思維及心路歷程，藉由詳細分析詮釋鐵琴獨奏曲《聆》，增加筆者演奏詮釋的多面性及豐富筆者聲音認知的經驗。 本論文將以楊聰賢的《聆》作為研究文本，並分為四個章節進行研究分析：第一章為緒論，說明研究動機與研究方法。第二章經由楊聰賢之生平介紹以及創作曲目，將創作風格分為三個時期敘述，進而綜合性的闡述創作理念。第三章概述鐵琴獨奏曲《聆》之創作背景，並以第二個創作時期之手法為依據來探討樂曲素材、動機、曲式，並藉由樂譜所附之文字解說連結作曲家理性與感性間的交互關係。第四章從器樂聲響的特性和創作手法來探討樂曲動機、時間速度、特殊演奏技巧之詮釋面向，並進而延伸出筆者個人的詮釋觀點。第五章為結語，說明筆者於此論文中探討的結果與心得。本論文將藉由與作曲家當面訪談增進對作曲家創作理念及樂曲風格轉變的瞭解，藉此也表達對作曲家的創作熱情的敬意。

Tsung-Hsien Yang, a Taiwanese composer, returned to Taiwan in 1991 after studying abroad in the United States. With his use of western compositional techniques that he learned in America, he merged them with traditional Eastern cultural. Both the Eastern and Western philosophical art context can be found in his music, along with traces of both Eastern and Western culture’s in both the work’s title and it’s contents.

Observing this piece from the writer’s Western musical education and performance concept background and to learn the composer’s mastery of Eastern and Western music language’s spirit, for a discovery of new performance techniques and sound concepts. Furthermore, related research papers on Tsung-Hsien Yang’s work are limited (only till 2002), and related books specialized on this discussion cannot be found in the past decade. This paper will further supply composition pieces and creation point-of-view on pieces after 2002, including the composition’s title, editing and related artistic impacts, to understand the composer’s thoughts and mentality, and, from a detailed analysis of “Contemplation”, enhancing the writer’s multi-faceted interpretation of performances and experiences on sound acknowledgment.

This paper will utilize Tsung-Hsien Yang’s “Contemplation” as the research context, separated into four parts for the research and analysis. The first chapter is the preface, explaining the motives of research and ways of research. The second chapter, will, through Tsung- Hsien Yang’s biography and composed pieces, divide his styles of creation into three periods for discussion, and later on conduct a comprehensive exposition of his ideas. The third chapter will briefly introduce the piece “Contemplation”’s creative background, following the second creation period’s creative approach as the context to discuss the piece’s materials, motives, musical forms, and, with the music sheet’s additional textual explanation, connect the composer’s interaction between rationality and sensibility. The Fourth chapter will, from the instrument audio characteristics and creative approach, discuss the music’s motives, time and pace, special performance technique aspects, and further extending to the interpretation of the writer’s point of view. The fifth chapter is the conclusion, explaining the results and experiences the writer explored from the research. This paper will also, by the writer’s face-to-face interview with the composer, enhance the understandings on the composer’s creative concept and understanding the shift of his music style, further expressing tribute to the composer’s creative passion.