王育雯Wang, Yu-Wen臺灣大學:音樂學研究所謝怡君Hsieh, Yi-ChunYi-ChunHsieh2010-05-052018-05-292010-05-052018-05-292009U0001-0708200909332700http://ntur.lib.ntu.edu.tw//handle/246246/178980江文也於1939年完成的《孔廟大晟樂章》，是他在回到中國時的作品，帶有濃厚的民族性，以西方管弦樂的形式呈現出中國雅樂的精神，可視為其音樂風格轉變的開端。 本文旨在透過比較與分析傳統祭孔音樂與江文也的《孔廟大晟樂章》，探討江文也如何發揚中國傳統音樂。第一章分四個時期，介紹江文也的生平，並從江文也所寫的文章中，了解他音樂思想的轉變及對編作《孔廟大晟樂章》的影響。第二章論述江文也編作《孔廟大晟樂章》的背景與動機，在北京參加祭孔典禮後，他開始研讀中國各式古籍，深入了解孔子的音樂思想，並效法孔子復興周代雅樂的精神，重新編作《孔廟大晟樂章》。第三章從中國傳統祭孔音樂的脈絡分析江文也的《孔廟大晟樂章》，提出傳統祭孔音樂與《孔廟大晟樂章》的差異在於音樂的流動性。第四章根據江文也在其文章中提到傳統祭孔音樂美學與西歐的有別，分析《孔廟大晟樂章》乃具有他認為之「天人合一」的儒家音樂美學與非人格的特殊性。江文也以西方作曲技巧成功地保留傳統祭孔音樂的精髓，實現了他將雅樂世界化的理想。Kongmiao Dacheng Yuezhang Jiang Wenyeh composed in China in 1939 is full of nationality. Jiang used Western orchestration to express the spirit of Chinese elegant music, and it can be regarded as the beginning of his conversion in music style. The purpose of this thesis is to analyze and compare the traditional Confucius’ Temple Music with Jiang’s Kongmiao Dacheng Yuezhang in order to explore how he developed traditional Chinese music. In the first chapter, I divide Jiang’s life into four periods, finding out from his articles how his new music ideas influenced the composition of Kongmiao Dacheng Yuezhang. In the second chapter, I state the background and the motive of Jiang’s composing the work as follows: After attending Confucius’ ceremony in Beijing, he started to study many kinds of ancient Chinese books, tried to understand Confucius’ music thoughts thoroughly, modeled himself on Confucius’ spirit of reviving elegant music in Zhou dynasty, and at last finished composing Kongmiao Dacheng Yuezhang. In the third chapter, I analyze Jiang’s work from the track of the traditional Confucius’ Temple Music, and bring up that the difference between the above two is the mobility. In the fourth chapter, according to Jiang’s view mentioned in his articles that the traditional Confucius’ Temple Music aesthetics differed from the Western European’s, I analyze Kongmiao Dacheng Yuezhang on the basis of Jiang’s argument and demonstrate its qualities---the union of men and heaven shown in Confucian school’s music aesthetics and the specialty of the non-person character. Jiang preserved the essence of the traditional Confucius’ Temple Music successfully by means of Western music-composing skills, and realized his ideal of spreading the Chinese elegant music worldwide.第一章 : 緒論 1一節 研究動機與的 1二節 文獻回顧 2三節 研究方法與論文架構 7 四節 江文也的生平及其音樂思想 8 二章 : 傳統祭孔音樂對江文也的啟發 12一節 祭孔典禮對江文也的觸動 12二節 江文也對孔子音樂觀的解讀 15三節 《孔廟大晟樂章》的創作動機與理念 19三章:從中國傳統祭孔音樂的脈絡看《孔廟大晟樂章》 21一節 傳統祭孔音樂的發展與樂曲結構 21第二節 《孔廟大晟樂章》音樂素材 26三節 傳統祭孔音樂與《孔廟大晟樂章》的比較 30 四章 : 從西歐作曲觀點看《孔廟大晟樂章》的特殊性 45一節 《孔廟大晟樂章》的精神本質 45二節 表現《孔廟大晟樂章》精神的作曲手法 49 五章 : 結論 74考書目 77application/pdf6359144 bytesapplication/pdfen-US江文也傳統祭孔音樂《孔廟大晟樂章》流動性特殊性Jiang Wenyetraditional Confucius’ Temple MusicKongmiao Dacheng Yuezhangmobility,specialtyhttp://ntur.lib.ntu.edu.tw/bitstream/246246/178980/1/ntu-98-R94144001-1.pdf