| 摘要: | 「協奏曲」相當引人入勝的特徵在於本質的二元性，因為音樂藝術表達上其中有一樣元素就是強調「對比」產生美感，而協奏曲內在原本就帶著衝突種子：合作-¬競爭、總奏-¬獨奏。觀察協奏曲發展的歷程，不同作曲家的作品裏體現了這四個元素不同比例的排列組合。
本文以專業作曲家王建民創作之第一部與第二部古箏協奏曲作品《楓橋夜泊》、《嬋歌》與箏樂家暨作曲家樊慰慈所創作的第一部古箏協奏曲《鄧麗君》為研究對象。內容首先探討作曲家之音樂創作歷程及創作理念。因為經歷與背景的不同，造就其對樂曲音樂創作面向有個人獨特風格；其次依序蒐集這三首作品《楓橋夜泊》、《嬋歌》、《鄧麗君》的原稿樂譜及相關資料，從作品的創作背景、曲式結構、特殊技法與記譜、樂團編制、音樂織體及音樂特色與風格等加以歸納、分析，使古箏協奏曲能以系統化的分析方式，呈現在讀者面前。
面對器樂演奏形式轉變後，樂曲的詮釋精神是否出現變化；而演奏上的新技法是否誕生，都是為了創新與推動該樂器的未來與該項音樂新素材的流動。協奏曲對於演奏者而言是一部挑戰自我與樂團抗衡的龐大曲目，尤其是有優秀作品誕生時，每位演奏家都希望能在自己手中讓樂曲發光發熱。而此次的三部作品，都是作曲家首次的對於古箏進行創作協奏曲，筆者在此期望能有進一步的瞭解樂曲文本形態，及詮釋時應注意的樂曲精神。
此外，期望本文之研究可以讓更多作曲家了解現今古箏協奏曲目量，藉此引發創作古箏協奏作品的興趣。最後，筆者期望以本文對於古箏藝術在學術領域上，發揮拋磚引玉之作用，使日後能有更多演奏者或學習者以此為研究主題，達到推廣古箏藝術發展之功用。
The fascinating characteristic of the concerto is its inherent duality because contrast often plays an important role in delineating musical and artistic aesthetics, a characteristic that is present at the very core of concertos: cooperation—competition, tutti—solo. Through the observation of the developmental history of concertos, it is possible to discover embodiments of these four elements in different ratios of permutations and combinations in the works of various composers.
The aim of this paper is to examine the first two Guzheng Concertos by Wang Jianmin, “Night Ferry at Maple Bridge” and “Diaochan’s Song” as well as the first guzheng concerto by guzheng artist and composer Fan Wei-Tsu, “Deng Li-jun”. Firstly, the musical creative process and concepts of the two composers are analyzed, and the distinctive traits in the musical creative dimensions of each are discovered to be a result of different life experiences and backgrounds. Second, the original scores and relevant information of each of the three pieces, “Night Ferry at Maple Bridge” , “Diaochan’s Song” and “Deng Li-jun” are placed under discussion, and information regarding creative background, music form, special techniques and notations, orchestra arrangement, musical texture, musical features and styles of guzheng concertos are summarized and analyzed in a systematic manner and presented to the reader.
Questions regarding whether changes in the spirit of interpretation occur with changes in the forms of instrumental performance, whether new techniques are created over time, are all issues closely linked to the innovations and propagations in instrument use and the fluidity of new elements in musical form. For the performer, the concerto is an intricate piece of music that is highly challenging to both the soloist and the entire orchestra, while at the same time, alluring performers to undertake these challenges in actuality. Whenever superior pieces are created, performers will always aspire to bring the musical pieces to life with their own hands. All of the three pieces discussed in this thesis are the composers’ first attempts at composing guzheng concertos. Therefore, it is hoped that this analysis will provide further insight into the musical textual form of their works, as well as the musical spirit that must be constantly referred to in performers’ interpretations.
Furthermore, it is also the aim of this thesis to bring to notice to composers the lack of fine new guzheng concertos, and to thereby inspire them to put forth more works to this genre. Lastly, the author wishes to initiate responses regarding the art of guzheng from within the academia, to call for further research and studies conducted by either performing artists or scholars, and to ultimately succeed in advocating the art of guzheng music. |
