| 摘要: | 本文從創作者角度出發，思考創作者、文化與藝術作品之間的關係。創作者藉由自身的生命經驗，將現在與過去生活的整體（統稱為「文化」）表現在「藝術」上，如何取材與運用仰賴創作者的思考與創意。《周易・繫辭》：「形而上者謂之道，形而下者謂之器。」本文以「道」、「器」之概念，闡述音樂創作的選材及應用。「道」乃抽象概念，樂曲的美學、哲學或中心思想，創作者將之轉化為樂曲的隱性法則，引導樂曲的發展，體現在樂曲鋪陳、段落設計，藉此表達創作者想傳達的概念；「器」屬具體事物，包含傳統戲曲、民謠、語言等，可以拼貼手法直接引用，作為創作素材，亦可透過概念轉化，抽象地運用在作品之中。作品中的「道」、「器」可並存，創作者可藉由「器」象徵與描述，經由「道」以傳達思想。第三章以作品《童趣》與《網’17》做為舉例說明， 說明如何解構多種素材中的不同元素（器），再透過「道」作爲思考的軸心，重新架構樂曲。
From the perspective of a composer, this article expounded the relationships between the culture, a composer and his works. How a composer composes a work should rely on his daily life experiences and many of which spring from our culture. How to use these materials in a work relies on creativity of a composer. I-Ching said: “the metaphysics says Tao and the physics says QI”. In this article, the author used this idea to explain how material selections and how it applying in musical creation. According to I-Ching, Tao is a concept to be abstractly revealed in aesthetic, philosophic or central idea of a work, specifically such as tension and structure design. In contrast, Qi revealed elements that are concrete in the works, such as traditional Chinese opera, folk songs, language, etc. A composer could absorb, transfer and/or re-use these materials under the concept of Tao to create his work. In here, Tao and Qi becomes a co-constructed process in musical creation. Further, we used "Tóng qù" and " Wǎng’ 17” as the examples to explain how a composer de-constructed concepts from different sources of materials to reconstructed his own works. |
