| 摘要: | 《弄獅》作曲家陸橒，運用現代的作曲手法中融入了多元的傳統思維與聲響，既新穎動聽又引人入勝，尤其這部作品巧妙呈現臺灣的各種精神與面貌，《弄獅》的標題直接點出了樂曲主要的描述對象，透過六個樂段，以廟會中的舞獅為樂曲意境上的發展，作為音樂的核心。
《扮仙》作曲家陳中申，樂曲意寫演員扮演天上神仙，向神明祈求賜福，及其在臺灣民間所象徵的意涵，藉以瞭解《扮仙》在演劇活動中之必要性與象徵意義。這兩首樂曲是取用臺灣在地北管音樂為素材，為嗩吶創作的大型作品。
本研究選用北管音樂為素材作為研究範圍，透過作品生平、音樂經歷、探討其作品背景，經由曲式結構分析，如何將北管音樂素材應用於嗩吶作品當中，進而呈現音樂作品的演奏分析與探討詮釋方向。
Lu Yun, the composer of Lang Sai, who uses modern composing techniques combining with both multiple traditional ideas and soundscape, which offer fresh and delightful impression to audiences. Particularly in her piece Lang Sai, it presents the diverse spirits of Taiwan. The main object in the piece is pointed out in the title — Lang Sai. The whole work uses the lion dancing in temple fair as the motive to develop the artistic conception through six movements.
Chen Chung-Sheng,the composer of the music Pretending to be Immortals. This piece of music talks the scenario about the actors act as the immortals in heaven, then praying for blessing, and shows the meaning of these actions in local. Meanwhile, the significance of Pretending to be Immortals could be understood. Both Pretending to be Immortals and Lang Sai utilise the local Beiguan Music in Taiwan, and are large scale works for Suona.
The research will be focuse on Beiguan Music, along with the studies about the histories and the experiences of the works, analysing the background of the works. Moreover, the forms of both two pieces would be studied, finding the ways of putting Beiguan Music into Suona works, then analysing the performance of these two pieces and discussing the artistic directions.
Keywords: Lang Sai, Lu Yun, Pretending to be Immortals, Chen Chung-Sheng |
