潘皇龍《五行生剋八重奏》(1979/80)的探究

A Study of Wandlungsphasen for Eight Players (1979/80) of Pan Hwang-Long

10.29873/GMJ.200706.0003

宋育任(Yu-Jen Sung)

潘皇龍 ； 台灣現代音樂 ； 五行 ； 尹伊桑 ； 拉亨曼 ； Pan Hwang-Long ； Modern music in Taiwan ； Five Elements Wu-Xing ； Isang Yun ； Helmut Lachenmann

關渡音樂學刊

6期（2007 / 06 / 01）

75 - 94

繁體中文

《五行生剋八重奏》(1979/80)是潘皇龍「柏林時期」的代表作之一，也是奠定他日後創作方向很關鍵的作品。在此他找到了往後以中西合璧爲主的創作方向，尤其是以西方前衛的音樂手法來表達中國哲學與美學思想的創作理念。在此曲中潘皇龍主要想透過音樂來表達中國傳統宇宙觀－五行相生相剋－的思想。他主要藉自音樂結構的「增減」與「消長」所造成的緊張與鬆弛的音樂層面來詮釋五行相生相剋的精神。其所構成變化多端的音響層面及細緻的音色變化，成爲此曲迷人之處。此外，此曲也受到儒家、道家核心的音樂美學觀－大樂必易、大音希聲－以及其所影響之中國傳統音樂所啓發，而發展出以單音爲音樂基本結構的語法。本論文的中心意旨就是探討潘皇龍如何將中國傳統的音樂美學與語法，整合在一個以西方當代技法爲主的音樂中（西方當代音響樂派），同時也探討如何以這樣的音樂呈現來詮釋中國古代的五行生剋思想，而成爲一首潘皇龍式的中西合璧音樂創作。

Wandlungsphasen for eight players (1979/80) is one of the representative works of Pan Hwang-Long during his study in Berlin, and it is also a work, which established decisively the style of his later compositions. Here he found his own ideas of compositions that can unify the eastern and western cultural element, especially the use of compositional technics of avant-garde to express the idea of Chinese philosophy and aesthetics.Pan's intention in this work is to express the Chinese traditional cosmology, namely the interdependences and mutual restrains of five elements. He interprets the concepts of such interdependences and restrains by means of the alternative sonic phases of tension and relaxation between ”increase and decrease” of sound. The most attractive characteristic of this work lies in the multi-dimensional sonic types and the nuances of instrumental colors. Besides, it is also inspired by the core of musical aesthetics of Confucianism-the great music should be simple (大樂必易)-, and Taoism- the great music contains little sound(大音希聲). Through such inspiration developed Pan a special kind of musical language of single-tone, which constitutes the basic structure of the whole piece. The central theme of this paper is to explain how Pan integrates the Chinese traditional musical aesthetics and languages to this composition, which bases on the western modern musical languages, and at same time explain why he uses such kind of music to express the ancient Chinese thought about interdependences and mutual restrains of five elements. Such a work represents Pans own way of unifying the eastern and western elements.