想像臺灣？臺灣當代音樂創作中的南管

Abstract

台灣當代音樂奠基於日治時期的西方音樂教育，近百年來皆延續著西方嚴肅音樂的發展脈絡。深受西方音樂教育的台灣作曲家，一方面接續1950年代以來多元開展的新音樂實驗，尋找異於西方藝術音樂的新聲音；另一方面，臺灣作曲家亦逐漸意識到原生地傳統音樂文化之重要性與特殊性，而開始“再發現”戰後逐漸沒落之臺灣在地傳統音樂，並納入為音樂創作語彙，其中，南管音樂，是許多作曲家關注並選用素材之一。然而，具有雙重文化定位的南管，於1980年代被政府與學界形塑為臺灣傳統音樂之代表性樂種之一，特別是1990年代之後隨著台灣本土意識的高漲，有越來越多的作曲家採用南管音樂素材進行創作。因此，南管的文化論述逐漸轉與臺灣意識相連結，而成為當代音樂創作中「台灣想像」的表徵。 本論文除了將探討南管在台灣歷史脈絡中的文化定位，以及南管如何被視為「臺灣傳統」而成為作曲家創作素材之外，亦初步分析自1990年至2013年使用南管音樂素材的當代音樂作品，從作曲家再現南管的方式，觀察南管於臺灣現代音樂創作中的文化建構，並以賴德和《鄉音II：南管音樂的聯想》和楊聰賢《傷逝》為例，從作曲家面對南管的態度，探討當代音樂中創作美學主體與文化客體之間的關係，以及其多元的文化詮釋空間。

Contemporary music in Taiwan has followed the development of western music for the last hundred years, because of the influence of western classical music education. Taiwanese composers who received such training, on one hand, continued the various experiments of New Music since 1950s; on the other hand, were aware of the importance and particularity of indigenous musical culture, such as nanguan. Hence, a process of “re-discovered” indigenous musical culture has been experienced among Taiwanese composers, who lately absorbed those musics into their musical idioms. However, nanguan, with its dual cultural identities, is formed as one of the representatives of Taiwan traditional music by the government and scholars. In particular, along with the rise of Taiwanese consciousness after 1990s, more and more composers applied nanguan into their works. Therefore, the cultural discourse of nanguan is gradually connected with Taiwanese consciousness, and became a representative figure of “Taiwan imagination” in Taiwanese contemporary musical compositions. This paper will first discuss the cultural position of nanguan in the context of Taiwan history, and how nanguan as Taiwanese tradition is employed by composers. Going through the use of nanguan elements in the compositions of Taiwanese composers from 1990 to 2013, this paper then reveals the cultural constructions of nanguan in Taiwanese contemporary music. By taking “Dialect II” (1998) by Lai Deh-Ho and “Grieving the Evanescing” (2006) by Yang Tsung-Hsien as 2 examples, this paper argues that the relationship between the aesthetic subject of composers and object of cultural materials involves various kind of interpretations, even beyond the cultural discourse of nanguan.