從文化認知現象解讀台灣當代嚴肅音樂創作(1980-2005)

Abstract

台灣當代嚴肅音樂充滿了許多引發思慮之內涵要素，無論創作者之思想脈絡、技巧手法亦或敘述題材，彼此間實有相當數量之重疊抑或重複，而其重疊與非重疊區塊所構築出的聲響圖像，即塑造了台灣當代「時代的面目」。 本論文題目＜從文化認知現象解讀台灣當代嚴肅音樂創作＞，顧名思義，主要定位並非在於「寫史」、「立傳」或是音樂作品之「樂曲分析」，而是建構於文化認知角度，依據社會學及結構學等文化理論基礎，藉由1980年代歸國作曲家潘皇龍、曾興魁、柯芳隆、潘世姬與金希文之作品為例，解讀台灣自1980年代至2005年間，當代嚴肅音樂之創作內涵與整體現象。 本論文共分六章節，在第一章＜緒論＞當中，筆者就本論文之「研究動機」、「研究問題定位」、「研究方法與理論基礎」、「研究架構與章節編排」分四節探討之。第二章＜台灣當代嚴肅音樂之時代劃分與名詞界定＞，則為本研究背景相關之文獻探討，包含「1980-2005間台灣社會與文化現象回顧」、「『現代』與『當代』於藝術史上之劃分」及「台灣嚴肅音樂之『現代』至『當代』」。第三章以＜跨時代之文化呈現＞為題，大篇幅個別書寫五位作曲家創作語法建構之歷程，並試圖以個別命題方式，分別為五位作曲家之個人特質與寫作風格作初步定位。第四章則以 ＜書寫「台灣」的方式＞為題，將五位作曲家1980年代迄今以「台灣」為主題包括「台灣當代紀實」、「台灣文化書寫」、「台灣女性書寫」之音樂紀實創作，作詳細之各別作品解構。第五章＜同質/異質－解構台灣當代嚴肅音樂創作現象＞，則連結文化與社會理論，探討五位作曲家作品呈現之時代性與其風格特質，更進而以文化認知研究理論，綜合探討台灣當代嚴肅音樂創作之總體現象，並以此印證自1987年解嚴後，台灣當代嚴肅音樂在內涵中所展現有別於前之「時代精神」與「當代思潮」。 最終之結論，筆者以「給下一輪太平盛世之音樂形式備忘錄」為題，總述1980年代歸國作曲家之於台灣當代音樂發展史上之定位與重要性，並在其所共創之時代精神影響下，「台灣當代新音樂」展現之創作價值與未來發展走向。

Contemporary serious music of Taiwan is filled with intentions to initiate thinking. No matter different creators' trains of thought, skills or the subjects, there are a great deal of overlaps or reapeats between them, and the sound images which are structures by those overlaps or not creates "Face of Time" of contempory Taiwan. This thesis topic "Understand the Contemporary Serious Music Composition of Taiwan from the Cognitive Phenomenon of Culture" , as its name suggests, is mainly constructed on the cognitive angle of culture and based on cultural theoretical foundation of sociology and structure etc., but not set up for writing history and biography or analyzing melody of music works. Take the works of Taiwan 1980s composers, Shing-Kwei Tzeng、Huang-Long Pan、Fang-Lung Ko、Gordon Shi-Wen Chin and Shyh-ji Pan-Chew for examples to understand the creation intention of works and the whole phenomenon of Taiwan contemporary serious music in 1980s - 2005. This thesis is divided into six chapters. In chapter one, "the Introduction", represents the research motives, the study the question, the research approach and theoretical foundation, and the research structure. In chapter two "Definition of the Terms and the Deviding era of Taiwan Contemporary Serious Music," there are discussions of this research background , including review of Taiwan social and culture phenomena in 1980s-2005, the division of “modern” and “contemporary” in the art history and the serious music of Taiwan from “modern” to “contemporary.” Chapter three, “Over time’s cultural appearance,” individually talks about the processes of constructing copose langusge of five composers and tries to make some Title to initially oreintate the personal characters and the writing styles of five composers. In chapter four, “Styles of Writing Taiwan,” analyzes the reality music works which talks about Taiwan, incuding the contemporary record in Taiwan, the written culture in Taiwan, and the written Taiwanese women, of five composers from 1980s. Chapter five, “Homegeneity/ heterogeneous: analyse Taiwan contemporary serious music composition phebomenon”, links culture and social theories to discuss the era and the style of the five composers’ works to synthetically study the overall phenomenon of Taiwan contemporary serious music composition with cultural cognitivetheories, and so as to confirm the different “spirit of time” and “contemporary trends” which shows in Taiwan contemporary serious music after the declaration of the end of martial law in 1987.

Finally, in “Some Memos for the Next Millennium,” states the position and the importance of the 1980s’ composers in Taiwan contemporary music development history, and also states the composition values and the music trends of “Taiwan contemporary new music” under the influence of the spirit of the time which are created by those composers.