給下一輪太平盛世之台灣當代音樂備忘錄

Abstract

《給下一個千禧年的六個備忘錄》被視為卡爾維諾為文學「辯護之作」，而為何文學需要辯護？實因文學之逐漸式微並引發卡爾維諾之憂慮。「現在是1985 年，我們和下一輪太平盛世之間只剩十五年的時光。」 1985那年的台灣，政治與社會在即將解放並驅向自由主義之前夕，80 年代自歐美接受現代主義與後現代美學洗禮之前衛作曲家，早在21 世紀之「太平盛世」（或亂世）來臨之前，即透過音樂之視角找到歷史與寫實敘述之罅隙，試圖喚醒「慣常」或「被迫」得了「歷史失憶症」之台灣社會，且於20 世紀與21世紀交合之當代，為台灣新一輩創作者之下一個千禧、一個應許存在的太平盛世，以音樂形式寫下值得留存、值得被不斷複誦之「音樂備忘錄」，而此備忘錄實為「台灣當代嚴肅音樂」存在價值之「辯護之作」。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」。筆者以「給下一輪太平盛世之音樂形式備忘錄」為題，試圖建構文化認知角度，總述1980 年代歸國作曲家之於台灣當代音樂發展史上定位與重要性，與在其所共創之時代精神影響下，「台灣當代新音樂」展現之創作價值與其影響下之音樂走向。

"Some Taiwan Music Memos for the Next Millennium” can be seen as Calvino's "defense" for literature. Why is the literary in need of defense? It is the cause of the gradual decline of literature in which Calvino was concerned. "We are in 1985 now; there are only fifteen years before the next round of peace and prosperity ". In that year in Taiwan, political and social liberation and the tendency towards pessimism were in, as avant-garde composers baptized by post-modern aesthetics and modernism in Europe and America had found gaps in music history and realistic narrative through the perspective of music toward the early 21st century, before the coming era of "peace and prosperity" (or chaos). Additionally, they tried to awaken Taiwan, which was "usual" or "forced" to have "historical amnesia". Also, between the 20th and 21st century, they wrote a "Music Memorandum" that was worthy of retention and preservation in music for the next round of peace and prosperity in Taiwan, as well as for the creators of Taiwan's new generation. This memo is exactly the "defense work" for the meaning of existence for "Taiwan Contemporary Serious Music”. Taiwan Contemporary Serious Music leads to thought. However, regardless of the thought, skills or themes described from the creators, there is a considerable amount of overlapping and duplication. Overlapping parts, as well as non-overlapping parts, block out sound images that have shaped "the era of the face" in contemporary Taiwan. The author has entitled this study as "Some Taiwan Music Memos for the Next Millennium ", in an attempt to build a perspective in cultural awareness, and to state the importance and position of contemporary music in the history of Taiwan of the composers in the 1980s. In addition, this article also discusses the value shown by “Taiwan Contemporary New Music” and music under the influence of this era.