東方與西方在音樂美學的表現上本質是不同的，二十世紀的亞洲音樂在國際 化與西方主導的大環境下，如何將本身傳統的哲思與新時代的創意結合，是許多 作曲家追求的理想。本文從現代音樂的管弦樂作品出發，尋找實踐傳統東方文化 精神的優秀作品，探討傳統文化對現代亞洲作曲家創作的影響，期以在當前歐洲 音樂為主流的環境中，尋找發展民族音樂的可能性。本文以儒道思想為主題，探 討亞洲現代作曲家於音樂中如何表現文化中的儒道哲學音樂觀，並觀察作品中的 作曲技法如何表現文化特色，探討其旋律、和聲、節奏與形式結構中所蘊含的儒 道哲學觀與作曲家獨具匠心的創意元素。
國際知名的韓國作曲家尹伊桑，其管弦樂代表性作品《禮樂》（1966)，以韓國 雅樂的元素表現東方「道」之哲學。「道」是東方哲學中的一個重要概念，經常表 現在各項藝術中，在中國的書法藝術裡也運用了道的陰陽形勢理論表現其美感。 此作品中尹伊桑將「道」的陰陽學說以傳統「主幹音」的概念發展，讓管弦樂團 也能表現出東方音樂道法自然的陰陽之美。《禮運大同篇》是儒家哲學的的著名篇 章，台灣當代作曲家潘皇龍以此為主題，力求表現二十世紀民主社會與孔子大同 世界中理想的共通性。《禮運大同篇》管弦樂協奏曲於1986-1990年期間完成創作， 並以三個獨立的樂章表現。潘皇龍的音樂雖以前衛著稱，作品卻是經常表現東方 的哲學精神，他將留學歐洲所學的音響創作技巧，結合了中國的造字藝術精神與 意象概念，試圖在此管弦樂作品上表現出中國儒學中「禮」、「仁」、「和」的善美 精神，以此展現當前台灣社會的富足大同景象。另外，本文也探討他如何將音響 技法與東方的「意境」哲學做結合，如何將十二音列的特性做為自由、平等的意 念動機，搭配器樂的特殊音響、音色與演奏技法產生「意境」效果，表現東方音 樂「大樂必簡」的非凡氣度。

The essence of performance in music aesthetics is different between the Western and Eastern culture. The Asian music of 20th century is in the environment which is led by the West and internationalization. How to combine traditional philosophy and modern creativity is the composers’ ideal. This study starts from the contemporary orchestral music, searches the outstanding composition which is put the Eastern traditional culture into action, and discusses the Eastern culture how to effect the modern composition. In the mainstream led by Europe nowadays, the study seeks the possibility which could develops their own music traditions and supplies the references of the cultural innovation and heritage to the composers.
Besides, the well-known Korean composer, Isang Yun. His orchestral masterpiece “Reak”(1966) reflects the “Daoism” on the Korean court music. “Daoism” is the fundamental notion in the Eastern philosophy. It represents in every aesthetical field, especially calligraphy which is emphasized on the yin yang doctrine and form coordination. These factors profoundly effect on the strength and aesthesis of calligraphy. Isang Yun uses the spirit of “Daoism” and the yin yang doctrine on the orchestra by the concept of “houptton”. “Harmony of the World” is the famous chapter of Confucian philosophy. The modern composer in Taiwan, Pan Hwang-Long, had completed the concerto for orchestra “Harmony of the World” in 1986-1990. This concerto is applied three unattached movements to represent the ideal harmony world in Confucianism. Although Pan Hwang-Long’s music is well-known for avant-garde, he often shows the mind of the Eastern philosophy. He uses the creative skills which he had learned during the period of studying in Europe. By above mentioned, he attempts to express not only the ritual, humble and peaceful essence in Confucianism, but also the harmony scene in modern society. Furthurmore, he represents the extraordinary magnanimity of “Great Music is Simple” in the Asian music by linking acoustics skills and the Eastrn artistic conception together.