| 摘要: | 本論文選擇作曲家楊立青以黃海懷於1962年將遼寧鼓吹樂笙管曲牌《江河水》進行移植的二胡獨奏曲《江河水》為主要的創作素材，將東北傳統作品重新改編成西洋管弦樂團與二胡的大型協奏曲《悲歌》為研究主題，二胡協奏曲《悲歌》創作於1991年，楊立青將原先由二胡獨奏伴隨著揚琴伴奏《江河水》一曲，改編成西洋管弦樂團與二胡獨奏以協奏的演奏形式，不僅在文化背景與藝術審美有所不同，音色與樂器特性也是一大考驗，勇於突破二胡主奏與大型樂團間配器平衡的難度所在，楊立青隨後一同與學生沈葉，將樂團版本改編至鋼琴伴奏版本，增添了豐富、多樣性的演奏形式。筆者根據作曲家楊立青的生平背景與創作理念進行梳理後，探究其個人創作風格深入分析，後經作曲家借鑒《江河水》改編成的《悲歌》，以二胡協奏曲的編制方式呈現，最終在本論文中筆者提出對《江河水》不同視角的演奏詮釋，更體會到楊立青不僅為二胡的新作品創造更多的可塑性，最後將音樂的意境之美透過新語彙的創作思維，傳遞至每個人的心中，難以忘懷。
This thesis provides a comprehensive analysis of composer Li-Qing Yang’s “Elegy.” This concerto for symphony orchestra and erhu is based on the erhu solo called “Whaling Waters,” arranged by Huang Hai-Huai from the same-titled piece of folk music of Northeast China in 1962. “Elegy,” composed in 1991, provides a new perspective on cultures and aesthetics and reflects timbre and tone of varied instruments. Yang overcomes the difficulty of assigning erhu as the lead instrument in an orchestra, and for a rich and diverse form of rendition, he further arranges a piece for piano accompaniment with his student Shen Ye. In this thesis, I first introduce Yang’s background and his experience of composing music pieces. I later examine Yang’s personal style and ideas behind “Elegy,” which is adapted from “Whaling Waters” and performed on erhu. Finally, by providing varied perspectives on the interpretation of “Whaling Waters,” I shed light on Yang’s creativity and musicality for the sonorous strings of the erhu. |
