| 摘要: | 揚琴是世界性的樂器，傳入中國後廣為流傳，而其發展從最主要的廣東音樂、江南絲竹、四川揚琴、東北揚琴以及山東琴書、蒙古二人台等，這些流派的樂曲都是現今的經典。經過時代的變化日新月異，作曲家的作曲手法創新，常使用不同的創作素材來譜寫樂曲，如：臺灣民謠、原住民音樂等等。其中張朝第二揚琴協奏曲《和》，則是以七種不同民族的民歌小調貫穿全曲，並使用了各式演奏工具來擊弦，透過這些聲響來使樂曲更加豐富，同時也讓揚琴的音色表現，開展出更多可能性。筆者於本文中研究張朝第二揚琴協奏曲《和》剖析樂曲整體結構，並探討各式民歌小調之內容，進而能掌握各式小調的韻味，俾便日後演奏者能有個參考依據。
Ever since Yangqin was introduced into China, it has become increasingly popular. Its schools include Cantonese music, Jiangnan sizhu, Sichuan yangqin, Dongbei yangqin, Shandong qinxu and Mongolia errentai. These types of music are all classics. As the society thrives and technology evolves, composers learn to compose music with materials like Taiwanese folk songs and aboriginal music. Among these composers, Zhao Zhang is one of the most famous. His Yangqin Concerto No. II “Melody” is composed with seven popular tunes of different tribes and culture. Which is also created with diverse tools that strike strings. These sounds enrich the song and open up the possibility of Yangqin composition. In this paper, I study the structure of Zhang’s Yangqin Concerto No. II “Melody.” I research the content of popular tunes used in this song and is thus able to grasp the essence of each tune. Hopefully, this paper can enlighten other performers who also play this song. |
