曲文軍琵琶協奏曲《高原魂》分析與詮釋

Abstract

民間音樂，是最為貼近人民生活的音樂，而現代國樂的創作，亦與之有著密不可分的關聯，因此本篇詮釋報告在對於現代作品與民間音樂的關聯探究中，選擇了被譽為「中國琵琶西北音韻代表」的琵琶演奏家曲文軍，運用民間音樂素材進行創作的琵琶協奏曲《高原魂》作為分析與詮釋的論述對象。 本篇詮釋報告將透過瞭解曲文軍音樂背景，樂曲創作背景，進行相關文獻與創作元素的探討。經過曲譜比對整理後，進行樂曲與元素之間的分析，以瞭解民間音樂與現代創作中的關聯，以及音樂素材的運用，進而探討在樂曲詮釋中，如何掌握演奏技巧的細微變化，來呈現出民間音樂的特色，以貼近樂曲的核心情感，從而進行對《高原魂》一曲的完整詮釋與演繹。

Folk music, a music genre closely related to people’s life, has been serving as a major derivation of the modern works of Chinese music. The researcher probes into this phenomenon, focusing on the pipa concerto “Soul of the Loess.” This is a pipa concerto involving folk music elements composed by Qu Wen-Jun, a renowned pipa virtuoso being hailed as “The China Pipa Representative of the northwest phonological.” This interpretation report first investigates the musical language of Qu and the compositional background of “Soul of the Loess.” By comparing different versions of this piece, the researcher analyzes them and evaluates the connection between the raw folk music materials and the music piece itself. According to the discovery, the researcher purposes several perspectives on the interpretation of this piece, suggesting that subtle adjustments on the performance techniques should be made in order to better convey the characteristics of folk music. Once these adjustments are considered and mastered, a pipa player will be able to understand the whole piece comprehensively, thus delivering the core musical idea of this piece.