試論現代作曲家創作風格之變：以臺灣作曲家柯芳隆為例

On the Stylistic Metamorphosis of Modern Composers: The Example of Taiwanese Composer Fan-Long Ko

10.6244/JOMR.202211_(37).03

彭宇薰(Yushun Elisa PONG)

柯芳隆 ； 音樂風格 ； 台語合唱與管弦樂曲 ； 鄉土音樂 ； 臺灣現代音樂 ； Fan-Long Ko ； musical style ； compositions for orchestra and chorus in Taiwanese ； music of locality ； modern music of Taiwan

音樂研究

37期（2022 / 11 / 01）

93 - 130

繁體中文

一位文藝創作者作品風格之轉折與變化，通常是研究者聚焦的重點之一，古典音樂創作者自不例外。曾經以管弦樂曲《哭泣的美人魚》（1993）而被定位為「前衛」的臺灣作曲家柯芳隆（1947年生），後來主力轉向更具親和性的鄉土性創作，透過大型台語合唱與管弦樂曲《2000年之夢》（2000）與《二二八安魂曲》（2008）的發表昭示其轉型，從而更多地在音樂中表達母土情感，並且致力於為台語文的語調音樂化與管弦樂化。這一路從前衛到鄉土的轉折，是怎麼發生的呢？本文首先簡述幾位西方現代作曲家曲風轉變的原因與狀況，接下來就柯芳隆生命情境與其前衛、鄉土性的代表作品，分別進行分析與探索，最後由探討結果與西方作曲家的狀況做些連結比較，試論其必然性之根源所在。

The transition and stylistic metamorphosis of artists never fail to intrigue researchers, and those in classical music composers are no exception. Fan-Long Ko (b. 1947) has been labelled an ＂avant-garde＂ composer after the premier of his orchestral work, Crying Mermaid in 1993. Later, he turned his attention to writing works tinted with native and folk colors; through Dream of the Year 2000 (2000) and 228 Requiem (2008), two works for large orchestra and chorus sung in Taiwanese, he manifested his musical evolution. His music becomes a vessel through which he expresses his sentiments for his homeland and mother tongue. He commits himself to compose works that use the Taiwanese for classical orchestra works. The essay traces Ko's return ＂home＂-a journey from the western avant-garde back to the indigenous. The author first provides examples of western composers and their stylistic transition to serve as a backdrop for discussion. In the second part, the account of Ko's personal life and its affinity to his modernist and indigenous works will be closely analyzed. Lastly, with a comparison between Ko and his western counterparts, the author explicates the rationale behind the stylistic transformation.

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