| 摘要: | 《桃花泣血記》，1932年在臺上映的無聲默片電影。為宣傳廣告及製造話題，由臺灣知名辯士詹天馬先生將其故事內容濃縮，以民間熟習的七言四句聯創作歌詞，並攜手留日作曲家王雲峰先生譜曲。因其樂曲輕快且歌詞流暢，便快速的被推上流行風潮，更被譽為臺灣第一手流行歌曲，可見其對於臺灣本土語言歌曲的影響力。
《桃花舞春風》，2023年由筆者委託笛簫演奏家吳宗憲教授創作，並以《桃花泣血記》作為素材解構重組譜寫而成的笛簫作品。樂曲旋律樸實簡明，卻充滿情感，勾勒出屬於臺灣獨有樸實無華的人情味。
筆者先後任職於采風樂坊及灣聲樂團，此二者皆以臺灣音樂為核心價值而努力，此精神深深的打動筆者，更使筆者毅然決然的投身於此。此次特別向吳宗憲教授邀稿，並且指定以《桃花泣血記》做為創作之素材來譜寫出屬於臺灣生活寫意的笛簫作品。
當代作品為了豐富其音樂的多樣性與技巧的挑戰性，擺脫了傳統調式與古典調性的框架，也因此傳統竹笛的指孔排列在運用上已逐漸不堪使用。近年來對於樂器型制的改良也如火如荼的進行著，而筆者也嘗試設計新十孔笛之音孔排列，並藉由此機會為自己留下紀錄，更冀望設計不足之處能有機會被討論改進。
"Peach Blossom Weeps Tears of Blood" a silent film released in Taiwan in 1932, was used as a promotional tool to generate buzz. Mr. Zhan Tian-Ma, a well-known debater in Taiwan, condensed the storyline and collaborated with the renowned Japanese composer Mr. Wang Yun-Feng to compose the music, using a popular folk-style seven-character, four-line lyric. Due to its lively melody and smooth lyrics, it quickly rose to popularity and was acclaimed as Taiwan's first pop song, showcasing its influence on the development of native language songs in Taiwan.
" Dance of Peach Blossom " commissioned by the author in 2023, is a bamboo flute composition created by Professor Wu,Chung-Hsien. It deconstructs and reassembles the music based on "Peach Blossom Weeps Tears of Blood" The melody of the composition is simple yet emotional, depicting the down-to-earth sentiment unique to Taiwan.
The author has worked for the ChaiFound Music Workshop and the Onesong Orchestra, both of which are dedicated to promoting Taiwan's music as a core value. This spirit deeply moved the author, leading them to wholeheartedly dedicate themselves to this field. For this particular piece, the author invited Professor Wu,Chung-Hsien to contribute and specified the use of Taiwan's first pop song, " Peach Blossom Weeps Tears of Blood," as the source material for composing this bamboo flute work that captures the essence of Taiwanese life.
Contemporary works, in order to enrich the diversity of their music and the challenge of technicality, break away from the traditional scales and classical tonality framework. Consequently, the traditional arrangement of finger holes on the bamboo flute has gradually become inadequate. In recent years, there has been a fervent effort to improve instrument designs, and the author has attempted to design a new ten-hole flute with a different arrangement of sound holes. Through this opportunity, the author hopes to document their design and anticipates that any shortcomings can be discussed and improved upon. |
