永劫中的幻變—江文也作品《孔廟大成樂章》 第一樂章〈迎神「昭和之章」〉之時間性探析

Abstract

目前學界針對江文也《孔廟大成樂章》之研究，主要涉及音樂美學與樂曲分析兩大範圍。例如常以「法悅境」與「天人合一」美學觀為基礎，闡述樂曲欲傳達「無發展對比、無情感高潮」之感受，或對樂曲段落、旋律、節奏等進行分析，將其與傳統祭孔樂相互對照，說明江文也如何在曲中體現傳統雅樂之精神。 然而綜觀研究，筆者發現，即使學者們從美學基礎上認定樂曲感受為「無對比、無發展、無情感…」，但在更進一步的分析段落中，卻會出現「樂段區分」、「樂章中配器或拍號變化」、「音樂主題貫穿發展於段落」等字詞描述，而此，多數研究較少提到「無對比發展」與音樂內容「轉化過程」是否具有衝突之疑慮。 為探查內蘊「無情感高潮」傳統價值的《孔廟大成樂章》曲中，究竟「有無發展變化之特質」，本研究運用Jonathan D. Kramer提出的直進（Linear）與非直進（Nonlinear）時間性概念，以及王育雯教授的「時間性二維向度分析法」（two-dimensional analysis of musical time）對第一樂章之音樂時間進行討論。透過五個層級（levels）：音組、樂節、樂句、次樂段、樂段；以及十八個參項（parameters）：單元長度、次單元數量、起始拍位、節奏、橫向五聲音群、旋律、力度、音域、速度、定音鼓節奏型、素材錯落方式、素材組合、主奏樂器、伴奏配器、整體配器、縱向音類集相關參項…等，詳盡地分析第一樂章各種時間歷程，嘗試為上述有無發展轉變的疑慮帶來一些洞見。 藉由時間性二維分析結果可發現，曲中與音程、旋律相關之參項，大多會以直進時間主導，而與節奏相關的參項則多呈現非直進時間；另一方面，部份在樂曲內看似固定的架構，其實於橫向流動過程中會呈現變化之特質。總而言之，《孔廟大成樂章》第一樂章並非只有單一不變之時間特性，其在各層級、參項內皆不斷產生轉變與不變相互平衡襯托的樣態。江文也曾在《賦天壇》內提到他對「中和」的理解──「那是不要變化的變化」，而本文由其作品中所得到的時間性交織過程，正恰恰印證了他的理解。

Currently, academic research on Jiang Wenye's “Kongmiao Dacheng Yuezhang” focuses on two areas: music aesthetics and music analysis. For example, based on the aesthetic concepts of “Fayuejing” and “harmony between nature and man” illustrate the music to convey the feeling of “no development contrast, no emotional climax.” Or analyze the music period, melody, rhythm, etc., and compare it with traditional Confucius music to illustrate how Jiang Wenye embodies the spirit of traditional music in his composition. However, looking at literature, the author has noticed that even though scholars have identified musical sensations as “non-contrast, non-development, no emotion...” based on aesthetic perspectives, in further structural analysis of passages, there are descriptions of words such as “segment differentiation,” “changes in orchestration or timing in the movement,” and “the theme of music runs through and develops in the period.” Most studies rarely mention the question of whether there is a conflict between “non-contrastive development” and the “transformation process” of music content. To explore the existence of “the characteristics of development and change” in the “Kongmiao Dacheng Yuezhang,” which contains the traditional value of “nonemotional climax,” this study uses the concepts of linear and non-linear temporality proposed by Jonathan D. Kramer, and the “two-dimensional analysis of musical time” proposed by Professor Yuhwen Wang to discuss the musical time operation of the first movement. Through five levels and 18 music parameters try to bring some insights into the above doubts about whether there is a development transition. The results of the two-dimensional analysis of musical time, it can be found that most of the parameters related to interval and melody types in music are dominated by linear time, while the parameters of rhythm types mostly show non-linear time. On the other hand, the seemingly fixed structures in the music exhibit a characteristic of change during the lateral flow of the music. In summary, the first movement of the “Kongmiao Dacheng Yuezhang” does not only have a single constant temporal characteristic, but also continuously balances transformations and constants at different levels and parameters. Jiang Wenye, in his work “Fu Tian Tan,” referred to his understanding of “Zhonghe” as “the changing within unchanged.” This article, through the temporal process derived from his composition, precisely validates his understanding.