兩首二胡曲之研究—《紅梅隨想曲》和《風雨思秋》

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Title:	兩首二胡曲之研究—《紅梅隨想曲》和《風雨思秋》 The study of Erhu Works with "Red Plum Capriccio" and "A Heroine and a Martyr"
Authors:	許雅茹
Contributors:	中國音樂學系
Keywords:	女性江姐秋瑾《風雨思秋》《紅梅隨想曲》
Date:	2017
Issue Date:	2017-04-07 10:46:28 (UTC+8)
Abstract:	音樂創作的題材十分多樣，從古至今，中西作曲家常使用人物作為創作題材。而二胡以其獨特的音色及表現力，時常被賦予表現女性人物為主題的作品，如《江河水》、《新婚別敘事曲》、《蘭花花敘事曲》等，均深刻描繪的主人公的遭遇與內心。而本文所研究的二胡作品《紅梅隨想曲》及《風雨思秋》也是以女性人物為主要創作對象，兩首樂曲的靈感來源—秋瑾與江姐（江竹筠），在她們所處的動盪歷史背景下，均具有相當特殊的身份，與以往二胡樂曲所描繪的女性人物有所不同；作曲者吳厚元和關迺忠分別受人委託而創作，也分別在樂曲中加入了不同的旋律素材增廣二胡的演奏技法。透過此研究可以明白如何使用二胡的樂器特性去傳達作曲家的想像與描繪，並達到精確的演奏詮釋。透過對作曲家背景及創作特點的總結瞭解兩位作曲家以不同基礎出發的創作特色；也透過樂曲的分析和詮釋，瞭解兩部作品因為描寫手法上的不同而造就不同的演奏方式。最後筆者綜合兩首作品對於女性人物塑造的方式，提出兩首作品都可以成功的讓聽眾感受到樂曲中存在的那位女性人物，讓人物不只是存在於歷史文獻中，而是可以透過音樂使廣大聽眾和演奏者自身對她們建立更具體的形象。 The themes of music creation are diverse, particularly figures commonly adopted within Chinese and Western composers since ancient times. Erhu, featuring its one-of-a-kind tone and expression, is frequently used in female-themed works, such as River Water, Parting of Newly-Married and The Ballad of Lan Huahua, all of which describe protagonists’ encounter and innermost. The works mentioned in the study “Red Plum Capriccio” and “A Heroine and a Martyr” are two typical examples. The inspiration of the two works-Qiu Jin and sister Chiang have quite special status in the background of their turbulent history. Wu Ho-yuan and Guan Nai-chung , the composers who were commissioned to create the works relatively , added varieties of melody loops to widen the techniques of Erhu performing. In this study, we will learn how to convey composers’ imagination and description by making use of Erhu’s intrumental properties, so as to specifically interpret songs. We can realize that both composers had disctinct creating characteristics on difference basis by concluding this two composers’ growing background and that different description methods contribute to different performing methods by analysis and interpretion of music composition. In conclusion, the author considers the two works can successfully let the audience sense the presence of the very female character in the music by the way of shaping the female figures, so that they not only exist in the historical documents but build up more concrete images in majority of audiences and performers through music.
Appears in Collections:	[Department of Chinese Music ] Thesis

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