| 摘要: | 劉天華為影響中國音樂發展的重要人物之一，其重要貢獻分為三個面向，其一為作品創作，劉天華除創作二胡十大名曲外，也創作琵琶與國樂合奏作品，而十大名曲至今則成為二胡獨奏作品的經典代表之里程碑。其二為樂器改良，劉天華借鑑西方樂器小提琴，作為二胡改良之依據，大幅提升了樂器性能與二胡的表現力。最後，為教育傳承方面，劉天華於多所音樂專業院校中擔任音樂教師，並培養了一批優秀的學生，如：儲師竹、蔣風之、陳振鐸等人，劉天華對國樂的貢獻可以說是跨時代的影響。
筆者將選自劉天華於1926-1928年間所創作的二胡作品：《苦悶之謳》（1926）、《悲歌》（1927）、《閒居吟》（1928），三首作品在國樂的發展中極具代表性，也貼切的反應當時中國所歷經的文化衝擊與作曲家所賦予的堅毅精神，三首作品在作品題材及曲式結構方面均有不同的特色如：《苦悶之謳》是以西方作曲手法中的變奏曲曲式並融入不同節奏發展創作，同時，將把位概念與手指的機能技巧融入樂曲當中；《悲歌》為10首二胡作品當中篇幅最短的作品，全曲以散板曲式創作，並由歌唱性的旋律增添作品之色彩；《閒居吟》則為10首二胡作品當中篇幅最長的作品，曲式方面也相當完整，並充滿濃厚的江南音樂特色。筆者希望藉由三首不同作品樣貌與創作手法，透過二胡左右手演奏技法的弓法運用與左手技法結合實踐，將三首作品藉由二度創作重新演繹出屬於當今時代背景的演奏詮釋。
Liu Tien-Hua is a very important figure who influenced the development of Chinese classical music. His important contribution can be devided into three dimensions. First, is the works Liu Tien-Hua composed, besides the ten great compositions for erhu, which have become very classic and representative works of erhu, he also composed many works for pipa and Chinese orchestra. Second is the improvement for Chinese instruments, Liu Tien-Hua improved erhu based on the design of violin, greatly improved the capability and performance for erhu. Finally, his legacy of education, Liu Tien-Hua was teaching in many musical academies and schools, he brought up many excellent students, such as Chu Shi-Zu, Jiang Feng-Zi and Chen Zhen-Duo, Liu Tien-Hua's contribution for Chinese classical music is time transgressive.
The author chooses the erhu pieces that Liu Tien-Hua composed between 1926 to 1928, which are “Song in desolation” (1926), “Song of lament” (1927) and “Leisure” (1928), the three works are very representative in the development of Chinese classical music, and also appropriately reacted the cultural shock that China was going through at the time, and the determination of the composer. All three works are different from their theme and music form, for example, "Song in Desolation" is composed by using the variation form which is often used in western music and with the combination of different rhythms, also he used the concept of positions and techniques of the fingers in this piece. the "Song of Lament" has the shortest length in the ten erhu works, the whole song is unmeasured, and adding cantabile melody to increase the color of the work. "Leisure" has the longest length in the ten erhu works, the structure of the form is also the most complete of all, it is full of heavy Jiangnan musical style. the author hopes to recreate and reinterpret a version of the three works that belongs to nowadays, by presenting the difference of their styles of composing and through the practice of the techniques in erhu. |
