譚盾《西北組曲》研究 －作品與「現代國樂」的多元對話

Abstract

本文研究對象為譚盾所創作「現代國樂團」作品《西北組曲》，主要關注於該作品的源流及作品與「現代國樂」的對話。在作品源流方面，除了梳理音樂作品的創作緣由、過程，也回溯該作品的其他前身文本，與音樂文本互為對照。對於「現代國樂」的觀察，主要鎖定1949年以後樂團編制、作品形式。 綜觀全文，以作品為主軸，透過訪談、歷史文獻與報導資料爬梳、樂譜與影音資料的整理等方法，探討作品的樂種背景、作曲家背景、作品創作原委、作品的音樂寫作手法，並且進一步從中切片，觀察作品與背景、作品與指揮、作品與作曲家、作品與樂種審美潮流之間的互動。

The article is a study about of Tan Dun’s “Guoyue Orchestra” piece Northwest Suite, and focus on the origin and development of the piece and the interaction between it and “Guoyue.”About the origin and development, including the couse for composing, and other relevant text. The observation on “Guoyue”is mainly about the orchestration and musical form after 1949. In general, this essay uses Northwest Suite as the main shaft. Through interviewing, researching on historical documents and reports, and organizing music and video records, it discusses the music background of the composition, the background of the composer, the inspiration of the composition, the music technique of the composition. Moreover, it analysis and observes the interaction between the composition and background, the composition and conductor, the composition and composer, and the composition and music stream.