趙季平《心香》二胡協奏曲之分析與詮釋

Abstract

趙季平成長於二胡作品創作的興盛時期與新探索時期，趙季平所採用的創作題材與體裁非常的廣泛，題材中不乏有民間音樂素材，體裁更包含交響樂、民族管絃樂、交響詩、協奏曲、室內樂、舞劇、電影及電視劇配樂等。其中電影、電視劇的音樂又經常被他本人改編成為器樂曲，例如：電影《黃土地》電影配樂改編為民族管弦樂曲、電視劇《喬家大院》改編為交響組曲、電影《心香》配樂則改編為《心香》二胡協奏曲等。本研究將探索趙季平為何將電影《心香》配樂改編為器樂曲，並透過樂曲的分析來詮釋此樂曲。 本詮釋報告為一質性研究，以個案研究法及文獻蒐集為主要方法，透過期刊文獻之探討，並輔以相關音樂會、訪談節目等資訊，將樂曲分析及與作品詮釋成果，透過文字敘述與譜例分析之方式，經過整合完成本詮釋報告。 經由上述分析與探討後，可以得知趙季平對於創作理念，他重視音樂內容與人民的生活相關、樂曲創作重視其音樂之意境、多元豐富的配器等，創作的理念及特色。透過曲式結構、旋律、節奏及和聲，搭配電影情境與樂曲之關聯，藉以了解樂曲結構及音樂內涵，使演奏者更能了解此曲創作背景及內涵，更能完整、忠實的詮釋本樂曲。Chinese composer Zhao, Ji- Ping was born and raised during the golden years of Er-hu. During these decades, a vast amount of new pieces were composed for and new techniques were applied to this traditional instrument. The music of Zhao is largely inspired by Chinese folk music and shows a great variety, including symphony, symphonic poem, Chinese orchestra, concerto, chamber music, dance drama, and film scoring. Among his compositions, the film scores are frequently rearranged to instrumental pieces by composer himself. For example, the film score for Yellow Earth was adapted to Chinese orchestra, the music for TV drama Qiao's Grand Courtyard was adapted to symphonic pieces, and the film score for The True Hearted was adapted to Er-hu concerto. My research would first focus on the reason why Zhao did such adaption of The True Hearted, followed by the analysis and interpretation of this piece. The body of this interpretational research is mainly based on case and bibliography study, including periodical articles, concert reviews and interviews. These materials provide crucial clues for the approach of analysis and interpretation, which are supported by music narratives and extract of music scores. Under this process, I would explain the music concepts and characteristics of Zhao in detail; for example, on Zhao’s culture and humanity aspects, the unique music atmosphere and dexterous instrumentation. Furthermore, I would connect the analysis of music components to the scenes of movie. The closer examination of the two would unfold a clearer map of the Erhu concerto adaption, which would contribute to an overall understanding, moreover, a more convincing and comprehensive interpretation of this piece.