[碩士論文]畢業論文摘要
題目：論趙元任結合新詩與音樂的理論與實踐——以《新詩歌集》的〈秋鐘〉、〈瓶花〉、〈也是微雲〉、〈上山〉為例
[撰文]張窈慈
[中文摘要 ]
近代中國音樂史上，趙元任先生結合了新詩與西洋歌樂作品的創作，開創了近代中國音樂的先河。他的語言學造詣很深，能切入聲韻與詞曲的結合，作為創作歌曲的基礎。再者，他身處於五四運動的環境下，運用當時詩人的創作來譜曲，曲子的內容複雜，風格多變，頗能展現個人獨有的特色，堪稱為「五四時期」作曲音樂家的代表人物。本論文的研究，基於趙先生的獨特貢獻，進而展開其新詩與音樂的理論與實踐之探討。
全文的素材，取自於趙如蘭女士所收錄的《趙元任音樂論文集》為理論依據，又以趙先生《新詩歌集》歌詞中的新詩，作為當時文人文學創作的例證。尚且，試從〈秋鐘〉、〈瓶花〉、〈也是微雲〉與〈上山〉等四首樂歌的實踐，以印證趙先生詩歌與音樂結合理論的見解與貢獻。
論文共有五章，首章「緒論」之外，逐次分章論述四首樂曲之新詩與音樂結合的相關性。內容主要重點有四：其一，探討音樂與文學的獨立性與藝術性，再將二項藝術相互作結合，由音樂與詩歌本有的「互通消息」、「交相為用」藝術共通性等特質，來了解音樂與文學的共鳴點所在。其二，關於趙先生音樂理論與音樂創作的思想內涵與藝術技巧，經筆者分析歸納，以凸顯他的音樂作品在文學中，抑或文學作品在音樂中的重要地位。其三，為探討趙先生對於樂曲的技法和理念等見解，並以他實際的創作來印證個人處理創作樂曲的技巧及方法。其四，試從語言學的觀點來看中國的詩歌吟唱，以研究趙先生對於中國古代吟唱藝術的傳承與運用。
總結來說，趙先生「藝術歌曲」的創作，本是人文與藝術的結合所形成的。音樂上，深受西方音樂的影響，但又不失中國傳統曲味；文學上，詩體的解放，讓新詩無論在形式或內容中，多能反映五四新文化的精神樣貌。趙先生的《新詩歌集》裡，這種取之於文學素材，進而發揮個人音樂創作的方式，不僅透露著他對原詩作思想內涵的認同，而且，還能與當時的社會現況與時代意識，相為呼應。這是將音樂創作與文學作品作一適切的結合，實為當時的樂壇，注入一重要的新生命，也為近現代的音樂發展，奠定重要的基礎。
[英文摘要 ]
In contemporary Chinese music history, Yuen-Ren Chao combined the creations of new poems and Western song works to launch the start of contemporary Chinese music. His creation of songs was based on the deep attainments on linguistics and the combination of rhythm and songs. Besides, in the time of May-fourth Movement, he used the creation of the poets at the time to compose the songs. The contents of the songs were complicated with diverse styles which could express unique personal emotion and playfulness. He could be called the representative figure of composers during “May 4 Movement”. The study of this paper was based on the unique contribution of Yuen-Ren Chao and further developed the exploration on his new poems and the theory and practice of music.
The materials of the article were based on the theory of Yuen-Ren Chao Music Thesis Collection collected by Ms. Ju-Lan Chao, the article also used the new poems in the lyrics of Yuen-Ren Chao’s Songs of Contemporary Poems as the example of the literature creation of the scholars at the time. In addition, the article attempted to prove Yuen-Ren Chao’s view and contribution of the combination theory of poetry and music from the practice of four songs “QiuZhong,” “PingHua,” “YeShiWeiYun,” and “ShangShan”.
There were five chapters in the paper. Apart from the first chapter “introduction”, the article elaborated the correlation of new poem and music combination in four songs chapter by chapter. The main points of the content were four: (1) exploring the independence and artistic characteristics of music and literature and combining these two forms of art in order to understand the resonance between music and literature from the original characteristics of artistic common point of music and poetry such as “message exchange”and “using for each other”; (2) as to the thinking content and artistic techniques of Yuen-Ren Chao’s music theory and creation, through the writer’s analysis and generalization, they were to highlight the critical position of music works in literature or literature in music; (3) exploring Yuen-Ren Chao’s views toward song technique and ideas and proving the skills and methods of an individual’s dealing on creative songs by his actual creations; (4) trying to study Chinese poetry and song chanting from the perspective of linguistics to explore the passing and application of Yuen-Ren Chao with regard to Chinese chanting art in ancient periods.
In conclusion, Yuen-Ren Chao’s creation of “artistic songs” was originally formed by the combination of human and art. In terms of music, it was deeply influenced by the Western music; however, it still grasped the style of Chinese traditional songs; in terms of literature, the liberation of poetic forms allowed new poems to reflect the spiritual look of May-fourth new culture, regardless of form of content. In Yuen-Ren Chao’s New Poems and Song Collection, the method to be based on literature material and further express individual music creation not only revealed his identification with the thinking content of the original poems, but also responded to the social situation and time consciousness during the period. Apart from properly combining music creation and literatures, it also increased a kind of critical new life for the music field at the time which is actually the important base of contemporary music song development.
請參閱「全國碩博士論文網」
[撰文]張窈慈
[中文摘要 ]
近代中國音樂史上，趙元任先生結合了新詩與西洋歌樂作品的創作，開創了近代中國音樂的先河。他的語言學造詣很深，能切入聲韻與詞曲的結合，作為創作歌曲的基礎。再者，他身處於五四運動的環境下，運用當時詩人的創作來譜曲，曲子的內容複雜，風格多變，頗能展現個人獨有的特色，堪稱為「五四時期」作曲音樂家的代表人物。本論文的研究，基於趙先生的獨特貢獻，進而展開其新詩與音樂的理論與實踐之探討。
全文的素材，取自於趙如蘭女士所收錄的《趙元任音樂論文集》為理論依據，又以趙先生《新詩歌集》歌詞中的新詩，作為當時文人文學創作的例證。尚且，試從〈秋鐘〉、〈瓶花〉、〈也是微雲〉與〈上山〉等四首樂歌的實踐，以印證趙先生詩歌與音樂結合理論的見解與貢獻。
論文共有五章，首章「緒論」之外，逐次分章論述四首樂曲之新詩與音樂結合的相關性。內容主要重點有四：其一，探討音樂與文學的獨立性與藝術性，再將二項藝術相互作結合，由音樂與詩歌本有的「互通消息」、「交相為用」藝術共通性等特質，來了解音樂與文學的共鳴點所在。其二，關於趙先生音樂理論與音樂創作的思想內涵與藝術技巧，經筆者分析歸納，以凸顯他的音樂作品在文學中，抑或文學作品在音樂中的重要地位。其三，為探討趙先生對於樂曲的技法和理念等見解，並以他實際的創作來印證個人處理創作樂曲的技巧及方法。其四，試從語言學的觀點來看中國的詩歌吟唱，以研究趙先生對於中國古代吟唱藝術的傳承與運用。
總結來說，趙先生「藝術歌曲」的創作，本是人文與藝術的結合所形成的。音樂上，深受西方音樂的影響，但又不失中國傳統曲味；文學上，詩體的解放，讓新詩無論在形式或內容中，多能反映五四新文化的精神樣貌。趙先生的《新詩歌集》裡，這種取之於文學素材，進而發揮個人音樂創作的方式，不僅透露著他對原詩作思想內涵的認同，而且，還能與當時的社會現況與時代意識，相為呼應。這是將音樂創作與文學作品作一適切的結合，實為當時的樂壇，注入一重要的新生命，也為近現代的音樂發展，奠定重要的基礎。
[英文摘要 ]
In contemporary Chinese music history, Yuen-Ren Chao combined the creations of new poems and Western song works to launch the start of contemporary Chinese music. His creation of songs was based on the deep attainments on linguistics and the combination of rhythm and songs. Besides, in the time of May-fourth Movement, he used the creation of the poets at the time to compose the songs. The contents of the songs were complicated with diverse styles which could express unique personal emotion and playfulness. He could be called the representative figure of composers during “May 4 Movement”. The study of this paper was based on the unique contribution of Yuen-Ren Chao and further developed the exploration on his new poems and the theory and practice of music.
The materials of the article were based on the theory of Yuen-Ren Chao Music Thesis Collection collected by Ms. Ju-Lan Chao, the article also used the new poems in the lyrics of Yuen-Ren Chao’s Songs of Contemporary Poems as the example of the literature creation of the scholars at the time. In addition, the article attempted to prove Yuen-Ren Chao’s view and contribution of the combination theory of poetry and music from the practice of four songs “QiuZhong,” “PingHua,” “YeShiWeiYun,” and “ShangShan”.
There were five chapters in the paper. Apart from the first chapter “introduction”, the article elaborated the correlation of new poem and music combination in four songs chapter by chapter. The main points of the content were four: (1) exploring the independence and artistic characteristics of music and literature and combining these two forms of art in order to understand the resonance between music and literature from the original characteristics of artistic common point of music and poetry such as “message exchange”and “using for each other”; (2) as to the thinking content and artistic techniques of Yuen-Ren Chao’s music theory and creation, through the writer’s analysis and generalization, they were to highlight the critical position of music works in literature or literature in music; (3) exploring Yuen-Ren Chao’s views toward song technique and ideas and proving the skills and methods of an individual’s dealing on creative songs by his actual creations; (4) trying to study Chinese poetry and song chanting from the perspective of linguistics to explore the passing and application of Yuen-Ren Chao with regard to Chinese chanting art in ancient periods.
In conclusion, Yuen-Ren Chao’s creation of “artistic songs” was originally formed by the combination of human and art. In terms of music, it was deeply influenced by the Western music; however, it still grasped the style of Chinese traditional songs; in terms of literature, the liberation of poetic forms allowed new poems to reflect the spiritual look of May-fourth new culture, regardless of form of content. In Yuen-Ren Chao’s New Poems and Song Collection, the method to be based on literature material and further express individual music creation not only revealed his identification with the thinking content of the original poems, but also responded to the social situation and time consciousness during the period. Apart from properly combining music creation and literatures, it also increased a kind of critical new life for the music field at the time which is actually the important base of contemporary music song development.
請參閱「全國碩博士論文網」