以台灣歌謠為素材之揚琴創作曲《花之戀》、《雨的聯想》、《丟丟咚傳奇》之樂曲分析與詮釋

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題名:	以台灣歌謠為素材之揚琴創作曲《花之戀》、《雨的聯想》、《丟丟咚傳奇》之樂曲分析與詮釋 The Analysis and Interpretation of Taiwanese Yangqin Folk Songs ﹕Love of Flowers, Association of Rain,Legend of Diu Diu Dang
作者:	蔡欣嬑
貢獻者:	中國音樂學系
關鍵詞:	揚琴《花之戀》《雨的聯想》《丟丟咚傳奇》 yangqin Love of Flowers Association of Rain Legend of Diu Diu Dang
日期:	2016
上傳時間:	2016-08-16 13:13:16 (UTC+8)
摘要:	臺灣歌謠象徵音樂文化代代相傳的民族性與傳統性和歷史性等，代表著一個地方人民的生活內涵、思想與生活情感的本土性，更是一個國家的音樂風格典範和精神的根基。一個沒有歌謠音樂根源的民族，不會呈現出燦爛不朽的民族音樂文化，就像一片土地開出美麗的花朵，如果沒有肥沃的土壤，燦爛的陽光、空氣和水的滋潤，也不會開出漂亮的花朵。我國音樂家許常惠老師在其《追尋民族音樂的根》一書代序中提到：「我始終認為歌謠是一個民族的音樂靈魂。」，而音樂家史惟亮也在其《論民歌》一書中提到：「想在音樂上恢復自我，首先要先拿出自己的音樂來。」也因台灣歌謠的歷史與文化背景具有獨特的風格與內涵，值得我們維護與發揚。本文將以台灣歌謠為素材的作品中，挑選出三首以歌謠為主的揚琴樂曲風格；分別為鐘泉波《花之戀》、林心蘋《雨的聯想》、吳瑞呈《丟丟咚傳奇》，從這三首樂曲了解作曲者簡介、曲意內容；其次分析整理，包括曲式、演奏技巧及手法等。希望藉由本文筆者能提升自我的演奏詮釋，並為日後演奏此樂曲之習琴者提供一些參考資料。 Taiwanese folk songs represent its ethnicity, tradition and history of the musical culture that is handed down from generation to generation. It reflects the lifestyle, thinking, and affection of the locals residing in this place. It also becomes the model of its music that keeps on inspiring its people. A nation without the foundation of folk songs will not bring out the magnificence of its culture. Just like a land without the nourishment of rich soil, sun, water and air will not cultivate the blossom of flowers.A Taiwanese musician Hsu Tsang-Hui once wrote “I always believe folk songs are the soul of people.” in his book Pursuing the Roots of Folk song. Another musician Shi Wei-Liang also wrote “To redeem yourself in music, the first thing is to create your own music.” in his book Folk song. Without a doubt, Taiwanese folk songs are worthy of preserving and promoting because of their unique style and quality in historical and cultural aspect. Among the pieces of Taiwanese folk songs, this paper chooses three Yangqin compositions: Chung, Chuan-Po Love of Flowers Lin Xin-Ping Association of Rain and Wu Rui-Cheng Legend of Diu Diu Dang The author discusses the background of the three composers and the content of the three pieces, followed by the analysis, performance and techniques. This paper is written in hope of improving the author’s performance and interpretation, and giving future references to Yangqin learners.
顯示於類別:	[中國音樂學系] 博碩士論文

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