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民族素材運用於當代音樂創作實例 - 台灣賽夏族矮靈祭音樂<<矮靈之舞>>
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| 作者 |
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林純慧 |
| 學校系所 |
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東吳大學音樂學系 |
| 地點 |
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全臺 全部
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| 研究內容 |
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[ 摘要 ]
文化的傳承在於人們從事各種形式的創作及展演活動，經過時間的考驗與淘汰之後，不管是透過口傳、紙本、或是數位影音技術，從這些遺留下來的珍貴文化資產，可以窺見傳承下來的文化，並且再透過各樣的方式，使文化繼續延續。
每一個群體均會發展出自身的文化，顯者從國家、民族，微者至社會、家族甚至個人，不同的地理環境、時代背景也會產生出不同特色的文化。台灣，作為一個島嶼，由於歷史因素較複雜，在地理位置上、政治立場上常被視為樞紐，近年來由於廣受歐美與日、韓文化的影響，在這些外來的影響下，使得源於台灣的藝術較少為本地民眾所瞭解、認識。
在台灣，運用原住民音樂素材創作的現代音樂並不多，在創作《矮靈之舞》之前，陸續對一些賽夏族音樂素材接觸了解，作品完成後，更對於台灣及歐美現代音樂當中，同樣以原住民素材創作的音樂感到興趣，進而開始了解近十五年來，以原住民素材創作的現代音樂發表狀況，以及中外現代音樂作曲家相關的創作理念，融合民族素材於創作中的精神；因著這些作曲家的影響，產生了自身對於音樂創作的觀點，期望透過現代音樂創作，將現代音樂與自身民族文化結合。
悅-林純慧個人作品發表畢業音樂會
曲目
1.幸福在哪裡-雙小提琴練習曲
2.矮靈之舞組曲-為低音提琴及鋼琴
3. For ‘‘R’’
4. 口哨歌-為小提琴獨奏及室內管絃樂團
5. 悅-電腦音樂
6. 為女高音及室內樂團的詩三首
[ 英文摘要 ]
Inheritance of culture relies on various forms of creation and performance, no matter if through oral descent, via scores, or digital media technique. Flow of time functions as both test and elimination, and through the precious cultural inheritances left, we are able to gain sight of the ancient culture carried over generations, and enable it to continue on.
Every group, from country, race, to society, at the family and individual level, generate their own culture. Different geographic locations and different eras generate culture with different styles.
Taiwan, as an island, plays a definite geographical and political role in the region. However, a wide influence from cultures of the west, from China, Japan and Korea, impact Taiwan profoundly. Art which actually originated from Taiwan is rarely know.
There are many different qualities and approaches for good contemporary music. Besides contemporary techniques, numerous composers have sought their roots in musical culture through the applied in their own compositions such as Béla Bartók (1881-1945). Culture needs to be passed onto the next generation. I believed that it is the inevitable responsibility of Taiwan composers to study music of the island. As a composer, I realized myself that music needs to be rooted in the soil of a culture, and to grow continuously to create contemporary music which originates in Taiwan.
Nevertheless, the complexity and depth is beyond the task of merely applying melody to certain local music. My concern is to further include the meaning of music materials and the issue of cultural continuation a given composition. Therefore, I expect myself to make contribution to the land by creating contemporary music that makes distinct my own culture and takes ethnic materials as a genuine theme.
Joy- Chun-Hui Lin Personal Composition Recital
1.Where is the Happiness- Etudes for Violin Duet
2.The Dance of Daai- Suite for Double Bass and Piano
3.For ‘‘R’’
4.The Whistling Song- for Solo Violin and Chamber Orchestra
5.Joy- Computer Music
6.Three Poems for Soprano and Chamber
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