| 摘要: | 二胡為傳統音樂表演元素中不可或缺之拉絃樂器，演奏及創作人遍佈全球華人世界。臺灣二胡作品的發展向來受中國地方音樂元素影響，1989年起隨著兩岸國樂蓬勃交流而更加頻繁。2000年起隨著政黨輪替，本土意識興起，臺灣藝文界之創作題材紛紛以本土元素為首要創作目標。2003年由文建會所主辦的「第二屆民族音樂創作比賽」更造就了多首以臺灣元素為主要內涵之重要二胡作品。惟發展至2010年末，筆者發現臺灣本土作曲家所創作的樂曲能見度越來越低，遂產生臺灣二胡創作環境改變的疑問，開始進行探討研究，以期建立近十年臺灣二胡作品更完整的發展脈絡，並提供未來臺灣二胡作品之創作發展方向。
本研究以個案研究、敘事研究、文獻分析和曲式分析為主要研究方法。個案研究將採用蒐集作曲環境及作曲家之文字資料為主。敘事研究則強調實際訪談作曲家使受訪者提供更多個人生活及創作來了解第一手資料，並與個案研究法中所獲得的文字資料進行比對以利真相之釐清。文獻分析及曲式分析則在前人所研究之基礎上進行再探討，在作品的形式上做觀察。
自2007年文建會取消民族音樂創作比賽及職業樂團未公開委約大型比賽作品至今，臺灣作曲家的作品逐漸往較小編制或較小團體的個人工作室模式進行獨立創作。2001~2010年總計共三十八首作品，包括2001~2007之二十一首作品及2007~2010年之十七首作品。作品類型和形式逐漸走向多元化，除了傳統作曲形式外還嘗試融合了爵士樂、搖滾樂及劇場配樂等元素，許多作曲家也多方嘗試跨界創作，惟這些創作中始終缺乏具代表性之大型作品。筆者認為政府機關應持續鼓勵優秀本土人才進行創作，並提供合理之獎助機制，方有利於臺灣二胡作品之永續發展。
Abstract and Keywords
Erhu, the string instrument, is an essential element of the traditional music; people who play and compose for it are all over the Chinese world. The development of the compositions for erhu in Taiwan has been influenced by the musical materials from the mainland China, and the phenomenon has gradually increased after the much frequent cross-strait Chinese music exchange started since 1989. Following the party alternation in 2000, the sense of nativeness sprang. Take the native materials as the theme for creation formed a trend in the field of arts in Taiwan. In 2003, contributed to the 2nd Traditional Music Composition Contest, held by the Council for Cultural Affairs, many significant erfu pieces embodying elements of Taiwanese music were composed. However, until the end of 2010, the number of compositions for erhu by Taiwanese composers has decreased gradually on the contrary, and the phenomenon encouraged the author to investigate the changing composition environment of erhu in Taiwan, looking forward to see through the thread of the development of erhu works in Taiwan during the recent ten years by the research, and further provides future composers with an aspect.
The research methods include case study, narrative inquiry, literature review and form analysis. The case study is based on an in-depth investigation of the target composers and their composition environments, the narrative inquiry is focus on the interviews with the composers for acquiring the first-hand information about their lives as well as compositions, and further make a comparison between the results of the mentioned methods to help clarify the real situation.
Literature review is based on a further discussion over the history study, and form analysis relates to the structure of the discussed compositions.
After the Traditional Music Composition Contest was withdrawn in 2007, the concerti for contest were rarely commissioned by the official orchestras. Taiwanese composers chose to work in individual studios and compose mostly for a small orchestration. To sum up, 38 pieces were composed during 2001-2010, among which 21pieces were composed before 2007. Gradually, the form and style of pieces became diverse. In addition to the traditional composing format, materials from Jazz, rock music and incidental music are further applied. Many composers even try to cross over to find a new road. Nevertheless, among these compositions, representatives of erhu works in Taiwan with a formal orchestration are still a lack. In the viewpoints of the author, the government should keep encouraging talented people to compose and provide them with a reasonable incentive to maintain the sustainable development of erhu works in Taiwan.
Key words：Erhu、Erhu works、Erhu works in Taiwan、Taiwanese works for erhu |
