徐瑋廷柳琴曲《莎韻之鐘》之改編探討與樂曲詮釋

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Title:	徐瑋廷柳琴曲《莎韻之鐘》之改編探討與樂曲詮釋
Other Titles:	The Adaptation Discussion and Interpretation of Liuqin Concerto “The Bell of Sha Yun” by Hsu, Wei-Ting
Authors:	李涴茹 LI, WAN-JU
Contributors:	民族音樂學系張雅婷 CHANG, YA-TING
Keywords:	柳琴曲;《莎韻》;《莎韻之鐘》;徐瑋廷;樂曲改編 Liuqin;Sha Yun;The Bell of Sha Yun;Hsu, Wei-Ting;adaptation
Date:	2023
Issue Date:	2023-11-09 13:27:36 (UTC+8)
Abstract:	本論文探討徐瑋廷將其所創作之國樂合奏曲《莎韻》改編至柳琴獨奏曲《莎韻之鐘》之過程，以及後續由柳琴演奏者進行樂曲修改的經過，包含由胡雅茹修改的獨奏曲V2，以及由鄭家芸老師及筆者進行修改的獨奏曲V3，修改的同時也會根據演奏者詮釋想法，增加演奏技法和手法進行樂曲詮釋。　　本文於第三章先整理《莎韻》保留給柳琴演奏的旋律後，再探討作曲家移植與改編後的《莎韻之鐘》獨奏譜V1，從中得知作曲家在改編上是有規律性的；獨奏曲交由胡雅茹修改時，是先針對曲譜中無法演奏的音域及和弦兩部分進行調整（V2）；獨奏的第二版本（V3）則是由筆者與鄭家芸根據前譜進行修改，V3也為筆者音樂會上的詮釋版本。　　透過研究，筆者歸整出樂曲在改編時的規律性以及作曲家與演奏者在修改上的想法，前者重視樂曲的層次豐富度與呈現出的情緒，後者更重視演奏時的技法與手法是否能呈現柳琴的特色及樂曲呈現的畫面。希望本研究能對柳琴音樂的文獻提供一些資料。　　This paper explores the process of composer Hsu Wei-ting adapting his original Chinese ensemble piece “Sha Yun” into a solo Liuqin composition titled “The Bell of Sha Yun”. It also delves into the subsequent modifications of Liuqin performer Hu Ya-ru, including the Solo Version 2 (V2) she modified. Furthermore, it discusses the revisions made by teacher Cheng Chia-yun and the author, resulting in Solo Version 3 (V3). During the modification process, playing techniques and methods were added based on the performer's interpretation, enhancing the musical interpretation.　　In the third chapter of this paper, the preserved melodies of “Sha Yun” for Liuqin performance were organized. The composer's process of transplantation and adaptation to create the solo score of “The Bell of Sha Yun” (V1) was then explored, revealing a systematic approach to the transformation. When the solo version was handed over to Hu Ya-ru for modification, adjustments were made primarily to address the score's unplayable range of notes and chords, resulting in version 2 (V2). The second version of the solo (V3) was subsequently modified by the author and Cheng Chia-yun, building upon the previous version. V3 represents the interpretation version performed by the author in a concert setting.　　Through research, the author has summarized the regularity of music adaptation and the ideas of composers and performers in making modifications. The former emphasizes the musical layers' richness and emotions' expression. At the same time, the latter focuses more on whether the techniques and skills used in the performance can showcase the characteristics of the Liuqin instrument and depict the imagery conveyed by the music. It is hoped that this study can provide some information for the documentation of Liuqin music.
Appears in Collections:	[Graduate Institute and Department of Ethnomusicology] Disserations and Theses

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