蘇文慶笙作品之探討 —以《笑傲江湖》、《大地笙歌》為範圍

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题名:	蘇文慶笙作品之探討 —以《笑傲江湖》、《大地笙歌》為範圍 A Study of Su Wen-Cheng's Sheng works － on the scope of The Smiling, Proud Wanderer and Ode to the Mother Earth
作者:	沈翎玄 Shen, Ling-Hsuan
贡献者:	音樂學系碩士班中國音樂組
关键词:	蘇文慶笙笑傲江湖大地笙歌 Su Wen-ching Sheng The Smiling, Proud Wanderer Ode to the Mother Earth
日期:	2013-06
上传时间:	2013-09-30 11:18:08 (UTC+8)
摘要:	台灣作曲家蘇文慶因受學習背景、創作歷程因素之影響，創作時能充分發揮樂器的特色、樂曲結構完整、樂隊配置融合而豐富，其所創作之作品在中國音樂發展過程中有著承先啟後的地位。有鑑於此，本論文將對蘇文慶創作於2006年與2012年之《笑傲江湖》及《大地笙歌》兩首笙協奏曲從演奏者的觀點出發，以探索其內容。本文首先論述蘇文慶之音樂背景與創作歷程，透過與作曲家的訪談，深入瞭解作曲家蘇文慶的音樂學習背景、創作經歷及作品形式整理；其次是進行《笑傲江湖》之曲式分析與風格探討，包含樂曲創作動機、曲式結構分析、演奏詮釋分析與風格特色等；其三是針對《大地笙歌》樂曲進行創作動機、曲式結構分析、演奏詮釋分析與風格特色之探討；最後「結論」筆者以演奏者的角度，針對樂曲中所表現的風格特點，以及作曲家蘇文慶所欲表達的真實理念加以論述。筆者期盼藉著研究內容，能為未來對此二首作品的研究者、演奏者及欣賞者，提供參考資料，達到推廣笙藝術之功能。 Owing to his education background and creative courses, the Taiwanese composer, Su Wen-ching, can give full play to the characteristics of instrument with the structural integrity of the song as well as the blending and rich band configuration. His creative works inherit the past and usher in the future in Chinese musical development process. In view of this, this paper starts from the performer’s point of view towards his two Sheng concerto “The Smiling, Proud Wanderer” and “Ode to the Mother Earth” created in 2006 and 2012 respectively, to explore their connotation. First and foremost, to discuss Su Wen-ching’s musical background and creative courses, through interviews with the composer, the author deeply explores the composer’s music learning background and creative experiences and reorganizes his works form. The next is the analysis and style of “The Smiling, Proud Wanderer”. The author conducts detailed discussion on it, including creative motivation, musical structure analysis, performing interpretation analysis and style characteristics. Furthermore, author also conducts the detailed discussion on the analysis and style of “Ode to the Mother Earth”. It including creative motivation, musical structure analysis, performing interpretation analysis and style characteristics. The last is “Conclusion”. The author makes interpretation and analysis from the player’s point of view, addressing the style characteristics of the songs as well as the true philosophy expressed by Su Wen-ching, expecting to provide references for future researchers, performers and appreciators and achieve the effect of promoting Sheng arts through exhaustive research.
显示于类别:	[音樂學系所] 博碩士論文

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