陳中申嗩吶協奏曲《扮仙》之分析與詮釋

Abstract

陳中申嗩吶協奏曲《扮仙》素材取自於北管音樂，其中所使用的素材及主奏的樂器，皆與筆者過去所學習的嗩吶及北管音樂相關聯，因此引起筆者研究的動機，希望能透過自身所學的專業，對於此曲素材進行探究，使樂曲能更貼近作曲家之原意。 本文之文獻分為三個面向來探討，分別為：作曲家之相關文獻、扮仙戲音樂之相關文獻、作曲家相關訪談文獻回顧。對於陳中申嗩吶協奏曲《扮仙》之文獻，直接性的資料鮮少，僅有學者針對曲式及詮釋上進行研究，因此，筆者透過親身訪談獲得第一手資料，從中整理出作曲家的音樂學習歷程與創作歷程，以及作曲家的創作理念與手法，再將此曲進行素材旋律之分析，並以演奏者之角度，對於此進行樂曲詮釋之探討，以完成本研究。 研究結果顯示，陳中申協奏曲《扮仙》於1991年受臺灣笛子演奏家劉治委託創作，此曲原先設定為笛子演奏，但在1997年時作曲家將此曲移植給嗩吶演奏，使樂曲更貼近北管音樂風格。透過訪談筆者發現，此曲不僅運用北管音樂的【二凡】、【梆子腔】、【點絳唇】、【緊中慢】，還運用到客家八音【高山流水】作為創作的動機。此曲融合了國樂嗩吶與戲曲嗩吶的演奏手法，讓嗩吶演奏的內容變得更加豐富，並充分展現出嗩吶樂器的特質。The suona concerto, “Celestials’ Drama”, composed by Chen, Chung-Shen, adopted the ingredients of Beiguan music, and the musical features and leading instruments used by the concerto have much to do with the thesis writer’s learning experiences of suona and the acquisition of Beiguan music. Hence, these factors have motivated the writer to embark on the research of the concerto, and hopefully, the writer is able to go deeply into the studies by applying his profession and ultimately get closer approaches to the composer’s original intentions. The thesis can be reviewed from three different dimensions: the literature review of the composer, of the Beiguan Celestials’ Drama music and of the interview on the composer. The research papers and references that have direct connection with Chen’s suona concerto, “Celestials’ Drama” was so limited that only a few music form analysis by scholars could be found. Therefore, the writer adopted the interview scripts as the primary source and get down to learning process of the composer’s music and composing profession as well as the composer’s perspectives and techniques. Furthermore, the writer completed the thesis by analyzing the composing materials and combining the writer’s personal views as a performer with the research discussions. The research outcome has shown that the concerto “Celestials’ Drama” was originally Chen’s production of Chinese flute concerto commissioned by Taiwanese musician, Liu Zhi, in 1991, but it was later converted into a suona concerto by the composer, making the aura of the music get much closer to the style of Beiguan music. While interviewing the composer, the writer found out that this concerto not only adopted the Beiguan labeled melodies, such as “Er-fan”, “Bang-zi-qiang”, “Dian-jiang-chun” and “Jin-chung-man”, but also applied the melody “Gao-shan-liu-shui” in Hakka Bayin in its composing motivations. This concerto is a collaboration of suona techniques of both Chinese music and traditional theater, which has made itself more rich in content and fully elaborated the characteristics of suona.