《依依》原創管絃樂作品與註釋

Abstract

管絃樂曲《依依》為一首採用三管編制之單樂章管絃樂曲，曲名「依依」於中文辭典裡有多種涵義，筆者取其「依戀不捨」之意，將各種程度之分離或失去時產生之情緒感受轉化為聲響。樂曲結構於功能上可分為引子、主體、尾聲三部分，各部分又分別由數個樂段組成，在創作思維及美學上與中國傳統民間套曲相似。音高設計以八音音階為基礎，於各樂段中安排不同中心音與中心音程，再融入類似傳統樂器吟揉效果之微分音產生出細膩變化。音色運用與配器手法則透過各種技法的嘗試與實驗，欲創造屬於筆者自身之音樂語言，並於創作中表達出最真實之自我。 文字陳述分為四個章節，第一章緒論說明管絃樂曲《依依》之象徵意義以及筆者創作過程之心路歷程變化。第二章簡述管絃樂曲風格之歷史演變與二十世紀至現今之作曲技術運用，並針對三位近代作曲家：李給替、亨策、尹伊桑之作品特色予以分析，藉此追朔筆者創作觀念之形成。第三章從各種不同角度詳細探討《依依》中使用之創作技巧與素材設計安排。第四章為筆者研究所創作階段之自我評估，試圖經由檢視過去脈絡而更深入地了解音樂之內涵與本質，以提供未來更寬且更深之思考方向。

YI-YI, a single movement composition for orchestra with triple winds, has many profound meanings in Chinese. It takes the Chinese meaning of “reluctantly to leave with a broken heart” to express different levels of emotions aroused when leaving or losing loved ones and turn these feelings into music notes. There are mainly three parts in YI-YI: opening, theme and closing. Similar to the aesthetics and the musical ideas of traditional Chinese Taoqu, each part is comprised of a number of sections. YI-YI uses octatonic scale as the basis of its pitch arrangements with different tonal center and intervalics in different sections, blending with the microtonal effects imitating the portamenti by traditional Chinese instruments in order to produce the varied delicacy. The composer also attempts to search her own musical language and expression by employing the timbre techniques of instrumentation. The Commentary for the original orchestral composition YI-YI, is divided into four chapters with the first chapter introducing the symbolic meanings of YI-YI and the composer’s journey in creativity. In chapter 2 summarizes the stylistic development of western orchestral music, and the techniques of the orchestration in the 20th century, analyzing the characteristics of three contemporary composers including Gyorgy Ligeti, Hans Henze and Isang Yun to explore more into the inspired concepts of YI-YI. In chapter 3, this paper elaborates the musical techniques used and the arrangements of the composing materials involved. While in chapter 4, the composer introspects and makes self-evaluations in the hope to have better perspectives toward music and to have an in-depth acknowledgement of the cultural meanings.