| 摘要: | 笙樂作品《文成公主》是由高揚、張式功、唐富等三位作曲家和演奏家秉持著傳統與創新之兼容並蓄下所共同完成的作品，在作品中使用改革樂器26簧傳統笙演奏，樂曲動機採用戲曲和民間吹打樂曲牌《萬年歡》、加入藏族風格「歌舞」音調中的《囊瑪》，以中國調式、調性貫穿、與西方創作手法相互揉合，借用西藏地區的音樂特色「堆諧」中的節奏型，譜寫成四個樂章分別為：(一)大唐盛景，公主倩容；(二)藏使求婚，長安惜別；(三)風雪途中，文成思鄉；(四)婚禮大典，漢藏合歡，為大型器樂笙協奏曲。樂曲創作至今，在學術上對此曲之相關研究的論述或專文發表尚未有系統化的完整論文發表，筆者身為笙的演奏者，透過笙協奏曲《文成公主》作品就學術系統化的整理與歸納、樂曲分析與詮釋等多方面進行探討，希望透過對本樂曲的研究後所提供的建議與拙見，有助益於筆者、甚或更多的演奏家在演奏本樂曲能對這首音樂的文化背景有更深刻之參考。也期待更多的作曲家能夠更充分地發揮笙的演奏技巧和樂器性能，並結合各地方的音樂特色和音樂素材來創作，不僅可擴展開發笙作品之曲源，同時可使笙之音樂更為多元和豐富。
“Princess Wencheng” is a concerto for Chinese instrument Sheng,
which was co-composed by the three cutting edge artists and
composers, Yong Go,Shee-Gon Chung, FuTang. They brought and
presented the musical ideas both in traditional and innovative ways,
and applied twenty-six reformed Sheng to perform this composition.
The musical motives and the theme of “Princess Wencheng” were
partly brought from the Chinese opera "Wannanghuan", which was
appliedthe certain setting of the Chinese folk wind instruments with
the traditional Chinese percussion band in instrumentation. Also,the
composers specially applying one of the themes fromthe traditional
Tibetan folk dance “Na ma”. From the aspect of its tonality, the
composers employed the Chinese modes with the Western music theory
methods and technique, also applying the particular tap dance
rhythm-"DueiShie"from the Tibetan region.This concerto is formed by
four movements, which are, the first movement: TaTang Cheng
Ching(the Golden Period in Tang dynasty) andKungChu Chien Jung
(The beauty of Princess);the second movement:Shih Chieh Chiu Hun
(Propose marriage from The Tibetan diplomatic corps), Chang AnHsi
Pie (Farewell to ancient city- Chang An); the third movement: Feng
Hsueh Tu Chung (Travel in windy and heavily snow), WenCheng Ssu
Hsiang (Princess Wencheng’s Homesickness),and the final movement:
Hun Li Ta Tien (The wedding ceremony),and Han Tsang Ho Huan (The
political marriage of Tang dynasty and Tsang ethnic group). Due to
iii lacking of systematically relevant researches of
“Princess Wencheng”in the academic study, as a performer of Sheng,
the author offered systematically musical analysis and performance
interpretation from various aspects, and presented the whole
documentation from interviewing with one of the composers/artists of
“Princess Wencheng”, Fu Tang, who successfully presented the
premiere of this work in China. Theauthor humbly hoped that, through
the study of“Princess Wencheng”would provide more insight,
inspiration, and the relevant information benefiting to more musicians,
in relation to the cultural background and performance interpretation
of this work. The author is with great expectations that there are
composers who could compose more works for Sheng to fully show its
characteristics, techniques,and the beautiful tones of Sheng, at the
same time, combining with the local cultures in music from different
regions for those works themselves. |
