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臺灣音樂研究

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篇名 臺灣傳統音樂素材在當代音樂創作中之「形變」與「質變」
卷期 10
並列篇名 “Extrinsic deformation” and “Qualitative change” – Taiwanese traditional musical elements in contemporary serious music and hip hop
作者 林幗貞
頁次 107-131
關鍵字 音樂與社會現象臺灣傳統音樂元素嚴肅音樂嘻哈音樂臺灣當代文化music and social phenomenonTaiwan traditional music elementsserious musicHip hop musicTaiwan contemporary cultures
出刊日期 201004

中文摘要

北管與西洋管弦樂團、客家八音與嘻哈、臺灣原住民音樂與重金屬搖滾…這些樂種的性質與風格位居不同的文化象限,亦在歷史長河中分屬古今,極少碰頭。然而,它們卻在當代作曲家與流行音樂團體的創作國度中,以前衛語法、當代語彙,經由「借用」、「拼貼」甚而「形變」等創作手法,將傳統音樂元素中與當代音樂存在之矛盾與差異予以融合,甚而統一。這些當代音樂人一方面在樂曲中傳達其叛逆、憤怒的情緒,在另一方面,傳統音樂素材被「形變」並「擷用」於創
作之中,也是他們向古老臺灣傳統音樂元素與詩歌致敬的方式。在本文中,研究範圍涵蓋了潘皇龍、柯芳隆等臺灣當代作曲家及嘻哈樂團「拷秋勤」之創作。無論嚴肅音樂抑或流行嘻哈,在當代音樂的創作中,前衛是共同特徵、實驗是共通精神。經由樂曲分析可以發現,「形變」後存在於當代音樂中的臺灣傳統元素,可以視為文化內涵與概念的種種「質變」。這樣的音樂融合,反
映著一些當代音樂人的共同信念,也就是對於自身文化之重新省視,對於臺灣歷史與環境土地之關懷,以及對於進步價值之持續追尋與真誠實踐。

英文摘要

Pak-koan vs. western orchestra, Hakka Ba-Yin vs. hip hop, Taiwanese aboriginal music vs. heavy metal… all of these musical genres have developed separately and seldom met each other. Their diverse styles are associated with different historical and cultural properties. In the past decades, contemporary composers and popular music groups have tried to blend these opposite musical elements with avant-garde or experimental ideas, such as “borrowing”, “collage”, and “deformation”. These artists
fused traditional and contemporary musical elements, negotiating the contradictions within a great diversity of musical genres. On the one hand, they conveyed their emotions of dissatisfaction and transgression through this kind of “music fusion”. On the other hand, they saluted Taiwanese traditional music and poetry through reusing and representing traditional elements in contemporary music. The present study deals with the musical works created by Taiwanese contemporary composers (Huang-Long Pan, Fang-Lung Ko, etc.) and the Taiwanese hip hop band Kuo Chou Ching. Whatever serious music or hip hop, many contemporary artists are commonly dedicated to experimentation and vanguard. Through analyzing these musical works, it is concluded that the “extrinsic deformation” of traditional musical elements is also the “qualitative change” of the connotation of traditional cultures. This phenomenon of music fusion reflects a number of Taiwanese contemporary musicians’ intentions: to review Taiwan’s history and local stories, to relive their homeland’s cultures, and to realize progressive values in practice sincerely.

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