| 摘要: | 揚琴這一樂器根據地方風俗民情發展至今逐漸有了獨奏、伴奏、助奏、合奏、齊奏、重奏、協奏等演出形式。其中由樂隊與獨奏者在舞台上所交織的音響效果與獨奏者技巧展現快速音群、音色變換的「協奏曲」為大多數人喜愛的樂種。目前揚琴與管弦樂隊合作的作品較為稀少；相較於國樂團來說，與管弦樂隊的作品是一種較為不同且難得的合作機會。本文探討王樂倫的《第一號揚琴狂想曲》和林心蘋的《楔子》，兩首作品分別為不同概念的新創作曲；前者為「絕對音樂」，後者為「標題音樂」。「絕對音樂」之曲名只講述樂曲創作的結構本體，其美感來自樂曲本身的旋律織體、和聲和結構，而非敘述的事物；而相對於絕對音樂一詞的「標題音樂」一詞源自於李斯特，原意為樂曲本身是由某一有敘述性的本體為啟發而創作。本文舉上述兩首揚琴協奏曲為例，探討在揚琴協奏曲中，協奏曲、絕對音樂、標題音樂三者所要表達之音樂內涵與音樂特色。
With the help of the cultures in different local areas,the performance of yangqin has developed into several styles,including solo,accompaniment,obbligato,ensemble,union and emsembles.Among all of the styles,concerto is the most-liked one.The beauty that is weaved by the orchestra and soloist,combining with skilled virtuoso,variation on the tones,has made concerto into a popular style of music.Currently,works co-produced by a yangqin virtuoso and Western orchestra are rare.To yangqin virtuosos,in comparison to working with a Chinese orchestra,working with a Western orchestra is a rather unforgettable experience.This thesis studies two newly-released musical pieces,“Yangqin Rhapsody No.1” by Lo-lung Wang and “Wedge” by Hsin-pin Lin.The former is the Absolute Music and the latter Programme Music.The term Absolute Music has a title that is not intended to represent anything.Its aesthetic value,instead,lies in the melody,harmony and texture of the music.In contrast,Programme Music was invented by Franz Liszt,meaning that a specific musical piece is inspired by a narrative that tells stories.In this thesis,I will use the above-mentioned musical pieces to decipher the roles the concerto,Absolute Music and Programme Music play in the yangqin concerto and investigate how they work together to express meanings and convey messages. |
