融合本在我心— 阮黎與絲竹空的世界融合爵士樂

Abstract

爵士樂發展過程中，樂手為了拓展更豐富的爵士樂表現力 (jazz expressionism)，而常與其他的音樂素材結合，造就各形各色不同風貌的爵士樂，兀自發展、百花齊放；此現象在學界引發許多討論，話題常圍繞在融合樂(Fusion)所涉及的「正統」與「商業」議題，較少針對該種音樂製作過程的「技術層面」深入探究。然而，不同類型的音樂融合行動，各自都不可避免須要處理伴隨融合相應而生的技術課題；其中，結合不同音樂文化的「世界融合爵士樂」(Global Fusion Jazz)必須考量所融合的音樂傳統可能對「即興演奏」一事持有不同的觀念或態度，並採取適當的策略來適應差異。本文選擇國際爵士樂壇從事世界融合爵士樂的知名代表人物阮黎，以及在台灣進行融合音樂實驗相當具代表性的絲竹空爵士樂團為例，探究其音樂製作過程所面臨的課題與挑戰，並藉由呈現他們克服問題的方法，指出爵士樂自始以來本就具有高度融合與混雜的潛力，而這樣的天性不該受限於被歷史書寫所「整合」出來的傳統既有形式，應存於最初那充滿生命力、保有個體差異及主體性的創新與實驗精神。

In the history of jazz, the musicians draw materials from other musical genres and cultures in order to broaden their expressions. Such variety of appearances gives rise to ‘Fusion,’ in contemporary jazz. The previous discourses mostly focused on the issue of ‘authenticity’ and ’commercialism’ involved in Fusion. However, different types of jazz fusion project inevitably bring about different technical challenges that either the composers or the individual performers ought to cope with. This thesis points out, it is crucial to undertake the ‘global fusion jazz,’ of the incongruous concepts of ‘improvisation,’ that is, to negotiate and adjust in different cultures. This paper takes the Vietnamese- French guitarist Nguyễn Lê and the Taiwanese experimental jazz band ‘Sizhukong’ as examples to explore their encountering challenges and the coping methods, respectively from the composer’s and the traditional instrumentalists’ perspectives. This thesis argues that jazz is in its nature highly potential to be hybrid and the commonality of jazz seems hard to exsist in the external features within an creative object, but rather, lie in the creative act, in which an experimental spirit retains innovation and individuality.