| 摘要: | 竹笛自1950年間馮子存先生創作了《喜相逢》及《放風箏》兩首獨奏曲以後，器樂化發展成為獨奏樂器已七十餘年。七十年來在眾多優秀的作曲家及演奏家的努力下產出了許多的作品，並隨著地緣風土民情及時間推移形成了北派、南派及新派，而後便是兼具各家之長、推陳出新的各式風格之笛曲，筆者將以上自清代以後曲目器樂化的發展劃分為近代。在絕大部分劇種都以弦樂作為托腔樂器之時，以竹笛為主要托腔樂器的昆曲對竹笛後來的演奏風格帶來了極大的影響，其演奏美學及表現手法更為其後江南絲竹的發展帶去了許多養分而茁壯成長。自隋、唐以降，中國文人繪畫的風格便開始朝印象、抽象轉化，不再滿足於對於客觀的「境」之寫實的表達，更著重於其中主觀之「意」的表現，往往所繪之山水與實際取材入畫之地有極大的差異，至少不可謂之為「寫實」。近代笛曲亦是如此，除部分敘事曲外絕大部分都為寫景的標題音樂，但卻蘊含了作曲家對內在之「意」的表達，便為竹笛之「寫意」。為研究近代笛曲在「寫景」及「寫意」中的美學運用，筆者以俞遜發的《瑯琊神韻》及張己任的《笛韻》為例，探討兩首曲子中之演奏風格及美學表現方法，以期為筆者自身收穫對曲子深層次掌握的同時引發對竹笛傳統美學的更多關注與討論。
The bamboo flute has developed from a traditional instrument into a solo instrument for over a century. With the efforts of many outstanding composers and performers, numerous works have been produced. With the influence of regional customs and traditions and the passage of time, the styles of Northern, Southern, and New schools were formed. After the Qing Dynasty into the modern era, while most drama genres use stringed instruments as their main accompanying instruments, Kunqu, which uses the bamboo flute as its main accompaniment instrument, has had a significant impact on the later style of bamboo flute playing. Its performance aesthetics and techniques have also brought many nutrients to the development of Jiangnan silk and bamboo music. Since the Sui and Tang Dynasties, the style of Chinese literati painting has begun to transform towards impressionism and abstraction, emphasizing the expression of "meaning" in it. The landscapes painted often differ greatly from the actual location, at least not considered "realistic". Similarly, modern flute music, except for some narrative pieces, is mostly titled with scenic music, but it contains the composer's expression of inner "meaning," which is the "depiction of emotions" of the bamboo flute.
To study the aesthetic application of depicting scenery and conveying emotions in modern bamboo flute repertoire, the author takes Yu Xunfa's "Langya Shen Yun" and Zhang Jiren's "Di Yun" as examples to explore the performance style and aesthetic expression methods in the two pieces, hoping to bring benefits to oneself and to stimulate more attention and discussion on the traditional aesthetics of the bamboo flute. |
