國樂合奏作品盧亮輝《夏》之分析與指揮詮釋

Abstract

盧亮輝先生(1939-)為華人國樂界最具代表性作曲家之一，其兼具演奏家、指揮家以及作曲家多重音樂家之角色於一身。本論文探討盧亮輝先生20世紀中葉所創作樂曲《夏》，一首膾炙人口之樂曲，也是一首相當經典的標題音樂作品。筆者將以指揮者角度切入，研究作曲家之生平、創作動機與時代意義，作為指揮之分析理解，從而進一步成為詮釋樂曲之憑據。本論文共分為五章。 第一章「緒論」敘述論說標的，包括研究動機與目的、以及範圍與內容。 第二章探討國樂之起源與發展，並就中國大陸、以及近幾十年來在臺灣的發展做一概略性的敘述。 第三章敘述盧亮輝之生平、經歷、以及人格特質對創作風格之影響。在此基礎上分析此樂曲，並進一步闡述盧亮輝創作國樂作品《夏》之歷史淵源以及其時代意義。 第四章為本樂曲《夏》，創作之動機與組織架構以及曲式做完整之分析，並從指揮者的角度做詮釋說明以及指揮動作敘述。 第五章本論文之結語，希望藉由本論文之研究能瞭解現代國樂之時代意義，並尋找指揮與作曲家之間的關係，更希望藉此機會有著拋磚引玉，對於從事現代國樂之所有工作者能更重視民族音樂現代化之演繹，理解及提升之。Mr Liang-Hui Lu is one of the most representative composers in Chinese traditional music. He is not only a composer, but also a performer and a conductor. The main content in this paper is focusing on the piece, “summer”, which was composed by Mr. Lu in middle of the 20thcentury. “Summer” is a popular composition in traditional classical Chinese music. The author of this paper will research the biography of this composer, the composition, the motive of composing it and it’s significance from the perspective of a conductor; and he will use the result for his analysis. Furthermore it will be the foundation in further illustrating the composition in depth. This paper consists of five chapters. The first chapter, “introduction”, narrates author’s researching motive, as well as scope and content. The second chapter discusses the origin and development of Chinese traditional music. In addition, it narrates the development of Taiwan in around fifty years span of time. The third chapter narrates Mr. Lu’s biography and his characteristic, and it further illustrates the historical origin and the time significance of when Mr. Lu composed the composition. The main content of the fourth chapter is on the motive of composing the composition and the construction of it. The author will illustrate it and analyze the conductorial movements of conducting from the perspective of a conductor. The fifth chapter is the conclusion of the paper. The author hopes that every reader can realize the meaning of the relation between Chinese traditional music and the era surrounding “summer”. Furthermore, the author hopes that the connection between composers and conductors could be connected deeper. The most important part is the author’s sincere goodwill in sharing this paper, and welcomes input and feedback from readers and colleagues; as well the author wishes to bring awareness to more people about the importance of classical Chinese traditional music, and hoping for it’s continued improvement and excellence in the field of Chinese traditional music.