| 摘要: | 柳琴發展至今約兩百年的時間，在樂器改革成為四弦柳琴的形制約有50多年歷史，相較於其他樂器而言，樂曲作品較少，這個問題引起許多演奏家關注，於是有委託創作、個人創作的作品出現。而這些作品方向非常多元，有各種編創手法，如採大小調與調式的運用、現代音樂、傳統手法，並運用各種素材在樂曲中，如歌謠、流行音樂元素。本文的研究是以台灣經典歌謠為創作素材所發展之樂曲。歌謠是文化最貼切的語言，它具備著濃厚的族群文化特色。如日據時代、戰前戰後，在如此困苦的生活下，人民藉由歌謠來抒發內在心聲，因此筆者特別選了關於台灣歌謠的主題，不僅僅是樂曲動人、所傳達的意義也不容忽視。
由作曲家朱雲嵩創作之《夏夜》與柳琴演奏家陳怡蒨創作之《天黑黑隨想曲》兩首用到的歌謠有〈白牡丹〉、〈桃花過渡〉、〈雨夜花〉、〈天黑黑〉，將傳統音樂元素與新創作的樂曲做結合，展現了柳琴極大的音樂包容力與挑戰力，加上豐富的柳琴技巧與音色，是非常具代表性的作品。本文首先對兩位作曲者的求學背景及樂曲創作背景進行探討，接著對所使用到的音樂素材進行分析，最後針對樂曲本身進行樂曲分析與演奏詮釋，並且以筆者身為演奏者的角度將樂曲做進一步的詮釋。
Liuqin development has about two hundred years, reform has become the instrument of four strings Liuqin shape about 50 years, compared to other instruments is concerned, the music works less concerned about the problems caused by many musicians, so there is commissioned creation, personal creative works appeared. The direction of these works are very diverse, there are a variety of creative techniques, such as adjusting the size of Western writing style, modern style, traditional practices, and the use of various materials in the music, such as songs, pop music elements.
This study is based on the classic songs of Taiwanese music developed by creative material. Songs are the most appropriate language culture, it is inherent aspirations of the nation. As the Japanese occupation era, the war after the war, the Taiwan people living in poverty, with songs to soothe depressed mood, so I chose a particular theme songs on Taiwan, not just the music moving, conveys meaning can not be ignored.
Creation by the composer Zhuyun Song "Summer Night" and Liuqin virtuoso Chen Yi Xi creation of "dark days Capriccio" two songs have used <peony>, <peach transition> <Rainy Night Flower>, <days black>, the traditional musical elements and the creation of a new combination of music do show a great deal of music Liuqin tolerance and challenge power, coupled with a wealth of skills and Liuqin tone is very representative works. Firstly, the two composers schooling background and explore creative background music, and then on the musical material used to analyze the final analysis for the music itself and playing music interpretation, and with the author's point of view as the music player further interpretation. |
