盧耀波《祁連音畫－飄雪》之樂曲探討與詮釋

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題名:	盧耀波《祁連音畫－飄雪》之樂曲探討與詮釋
其他題名:	The Discussion and Interpretation to Lu, Yao-Bo's Falling Snow from Dizi Suite “Tone-Pictures of Qilian Mountains”
作者:	施芳榆 SHIH, FANG-YU
貢獻者:	民族音樂學系張雅婷 CHANG, YA-TING
關鍵詞:	祁連音畫;飄雪;盧耀波;馬雲鶴;郭虹希 Tone-Pictures of Qilian Mountains;Falling Snow;Lu, Yao-Bo;Ma, Yun-He;Kuo, Hung-Hsi
日期:	2023
上傳時間:	2023-11-09 13:28:02 (UTC+8)
摘要:	《祁連音畫》是由笛子演奏家盧耀波於2017〜2019年間所創作，是寫給笛子與鋼琴、笛子與樂團的笛獨奏套曲，分別有三首獨奏曲：《舞沙》、《飄雪》以及《烏嶺》，此曲也是近年來在各大比賽、表演中風行的笛子獨奏套曲。此篇論文中，筆者選擇《祁連音畫》中的《飄雪》一曲為詮釋對象。　　筆者蒐集樂曲資料時，在網路上只搜尋到一篇書寫盧耀波創作之笛曲《祁連音畫》的文獻資料。在本篇論文中，筆者透過林宗佑的碩士論文《盧耀波笛套曲《祁連音畫》之分析與詮釋》、盧耀波2020年出版的作品集曲譜、其他笛演奏技術相關文獻、對作曲家的訪談，來了解盧耀波的創作動機與想法，及樂曲的創作背景、創作手法、演奏方法與技巧；也透過分析首演者馬雲鶴、演奏家郭虹希的演奏影片，進一步了解演奏家對樂曲的詮釋方法並加以統整，論文中也會分享筆者自身學習及演奏時的詮釋與心得。希望藉由此分析，能夠為日後的演奏家們提供更多對樂曲的詮釋設計及看待音樂的角度。　　The Chinese flute composition “Tone-Pictures of Qilian Mountains” contains three pieces. They are “Dancing Sands”, “Falling Snow” and “Wuling Mountains”. It's a popular solo composition that has become the major competition and performance in recent years. “Tone-Pictures of Qilian Mountains” was written by Chinese flute player, Lu Yao-bo from 2017 to 2019. It's a Chinese flute solo piece of two versions , “Flute and Piano” and “Flute and Orchestra”. In this paper, I chose the song “Falling Snow” in “Tone-Pictures of Qilian Mountains” as the object of interpretation.　　When I collected music information, I only found an essay on the Internet about Chinese flute song “Tone-Pictures of Qilian Mountains,” composed by Lu Yao-Bo. The content of the research mainly uses the Lin Tsung-Yu master's thesis “Analysis and Interpretation of Lu Yao-bo's Flute Suite “Qilian Sound Painting.” The music score of Professor Lu Yao-bo's collection published in 2020. And I also interviews with composer to understand Mr.Lu's creative motivation and ideas, as well as the creative background, techniques, performing methods and skills of the music. Through the analysis of the performance videos from Ma Yun-He and Kuo Hung-hsi, we will further understand the teachers' interpretation of music and unify them. The author's own interpretation and experience of learning and performance will also be shared in the paper. We hope that through this analysis, performers can acquire more interpretation, design and perspective information on music.
顯示於類別:	[民族音樂學系] 博碩士論文

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