本文主要研究1973 ∼ 1985 年間「雲門舞集」舞作所運用的臺灣現代音樂。 「雲門舞集」於1973 年創團時的宗旨為：中國人作曲，中國人編舞，跳給中國 人看。** 所以在「雲門」創團後的前12 年（1973-1985）所運用的音樂，主要是臺灣嚴肅音樂作曲家所創作的現代音樂，因此與「雲門」合作過的音樂家囊括臺 灣當代重要的作曲家，他們和「雲門」合作的音樂創作絕大部分也成為臺灣現代 音樂中的經典之作。在1970 ∼ 1980 年代，「雲門」催生了許多臺灣現代音樂， 或是使它們獲得重要的演出機會，「雲門」可說是臺灣現代音樂於這些年間蓬勃 發展的重要推手；而這些精采的音樂創作，也是促進雲門舞作成功的因素。「雲 門舞集」獲得國內外的讚賞，回答了東方藝術家最關注的一個問題─東方傳統 性如何與西方現代性結合，並如何從中達到創新的可能？「雲門」不只是在舞蹈 動作上成功地結合了中國、臺灣的傳統性與西方現代性，其成功地融合了東方傳 統與西方現代也是它所運用的臺灣現代音樂之特色，所以與舞作整體風格上形成 一致性。 為了要深入研究1973 ∼ 1985 年間「雲門舞集」所使用的臺灣現代音樂，本 文想釐清以下幾個問題意識，包括：一、早期「雲門」（1973-1985）與臺灣現代 音樂的關係，二者合作的歷史與背景。二、早期「雲門」所運用的臺灣現代音樂 作品的風格與形式為何？三、早期「雲門舞集」所運用的臺灣現代音樂是否相應 於雲門舞作不同時期風格之演變？四、早期「雲門」所運用的臺灣現代音樂之風 格特色是否有共通點？本文以早期「雲門」三個不同時期之代表舞樂為例：賴德 和為《白蛇傳》所寫的音樂《眾妙》（1975）、馬水龍《廖添丁》（1979）與賴 德和《紅樓夢》（1983），做深入之音樂分析，來理解早期「雲門」舞樂三個不 同時期之風格特色。音樂為「雲門舞集」藝術中很重要的一部分，釐清了上述的 問題之後，我們不僅對於這些和本國作曲家合作的「雲門」舞作與有進一步的認 識，同時也對於臺灣現代音樂的歷史與發展有更深的理解。

This paper studies Taiwanese modern music used by“Cloud Gate Dance Theater”from 1973 to 1985. Founded in 1973,“Cloud Gate”has as its guideline the following:“Chinese composing, Chinese choreographing, Chinese dancing for Chinese people”. Therefore, in the first 12 years of“Cloud Gate”its dance music is mainly based on modern music composed by Taiwanese serious music composers. Most of the compositions for“Cloud Gate”became the classical works of their time. In the 1970s and 1980s, "Cloud Gate" gave birth to many Taiwanese modern music, or gave them important performance opportunities. Therefore,“Cloud Gate”has greatly helped Taiwanese modern music flourishing in those years; and these ingenious music works have also been an important factor in the success of“Cloud Gate”. The domestic and overseas success of“Cloud Gate”is also an answer to the following question of oriental artists: How can we combine the oriental tradition with western modernity, and how we create new interactions between them?“Cloud Gate”has successfully realized the goal of combining the oriental (Taiwanese and Chinese) tradition with western modernity in the dance. The successful integration of oriental tradition and western modernity is also the characteristic of Taiwanese modern music used by“Cloud Gate”, so that its musical style is consistent with its dance style. In order to study thoroughly Taiwanese modern music used by“Cloud Gate”from 1973 to 1985, this paper will try to clarify the following issues: 1. What is the relationship between the early period of“Cloud Gate”(1973-1985) and Taiwanese modern music, and what is the history and background of their cooperation? 2. What are the styles and the forms of Taiwanese modern music used by“Cloud Gate”? 3. Does Taiwanese modern music used in the early“Cloud Gate”correspond to the latter’s evolution of the style in different periods? 4. Are there any common elements in Taiwanese modern music used by“Cloud Gate”? This paper takes the representative dance music of the three different periods of the early“Cloud Gate”as examples for musical analysis: Deh-Ho Lai’s White Snake, Shui-Long Ma’s Liao Tien-Ding and Deh-Ho Lai’s Dream of the Red Chamber. Since music plays a very important role in the art of“Cloud Gate”, once the abovementioned questions have been discussed, we will have a better understanding not only of these“Cloud Gate”dances cooperated with the Taiwanese composers, but also of the history and development of Taiwanese modern music.