| 摘要: | 從古至今，笙已有三千多年的歷史，屬周代八音分類的匏類樂器，笙在其中獨佔一席，可知笙在當時就已受到相當地重視。笙具備獨特的和聲功能，可以使彈撥類樂器與擦弦類樂器巧妙地融合。而在絲竹管弦合奏上，調適和諧的音色。從歷史脈絡上，笙的形製也不斷地改革，以符合每個時期不同環境的需求。
在現代國樂中，傳統笙的演出形式已不同於古代，笙已有獨奏曲、重奏曲、協奏曲等，乃是受到西方音樂的影響。昔日，不論是宮廷燕樂的伴奏，亦或民間絲竹小曲的合奏，笙始終擔任伴奏或合奏，在文獻上都未曾留有笙的獨奏曲目。自1956年胡天泉以笙獨奏曲《鳳凰展翅》問世後，傳統笙的獨奏曲目才逐漸加多，爾後又有高音鍵笙、中音笙和低音笙的獨奏曲、重奏曲、協奏曲等不同形式出現。目前流行於台灣的傳統笙，有：17簧笙、21簧笙、24簧笙、26簧笙與37簧笙；高音鍵笙有：36簧笙與42簧笙，中音笙以36黃排笙最為常見：低音笙以32簧低音大排笙及32簧低音抱笙為常見，可見笙的種類之繁多。如今許多笙演奏家、樂器師傅也仍不斷地為笙作改良，以追求更美好的聲音品質與更易於吹奏的樂器。
本文以李光陸所作的三首獨奏曲：《飛鶴驚泉》、《雲淡風清》與《鄉敘》為對象，作研究的探討，期待經由資料彙整與作曲詮釋分析，能帶給爾後笙同好者、演奏者或ㄧ般民眾，提供基本參考，為笙的藝術發展，盡一份棉薄之力。
Since ancient times, sheng has appeared more than three thousand years of history, belong to the Pao class of the Eight-Musical-Instrument-Classification in the Zhou Dynasty; sheng can be exclusive in the classification, so we can see that it has been considerable attention at that time. The unique harmony function of sheng can make plucked instruments and string instruments integrated smoothly, furthermore, there are harmonious sounds in the chamber music or ensemble. From the historical context, continuous reformation of sheng has met the needs of different times.
In the modern Chinese music, the performance forms of traditional sheng have been different from the ancient time, and solo, ensemble, or concerto are influenced by Western culture. Whether it is the accompaniment of the palace Yan music or the ensemble of the folk music, there is no repertoire in the literature. The traditional Sheng's solo repertoire gradually increased since Hu Tianquan's solo "Phoenix wings" was presented to the public in 1956; and then the other different forms of solo, ensemble, and concerto of the treble key sheng, alto sheng, and bass sheng appear slowly.
The types of traditional sheng currently popular in Taiwan are：17-reed, 21-reed, 24-reed, 26-reed, and 37-reed; 36-reed and 42-reed of treble key sheng; 36-reed of alto sheng; 32-reed in rows and 32-reed in circle od bass sheng. You can the variety of so many types of sheng, and there are many sheng makers and performers still constantly reforming nowadays, to pursue a better quality of sheng.
This thesis is based on the research of the three solos which composed by Li Guanglu, the president of the Chinese Association of Sheng：” The Home Ballad”,” The Light Cloud and Wind”, and” The Flying Crane”. It is expected that the analysis of the compilation and interpretation of these three solos will provide the reference for the sheng players or the general public. |
