| 中文摘要 |
江文也（1910-1983）是二十世紀最有原創力的臺灣作曲家兼詩人。江文也早年赴日，深受西方現代派音樂的洗禮，1936年以管絃樂曲《臺灣舞曲》在柏林奧林匹克音樂比賽中獲獎。1938年江文也回到北平任教，致力重譜中國雅樂。影響他的關鍵人物是亞歷山大‧齊爾品（Alexander Tcherepnin，1899-1977），一位熱切崇尚東方音樂的俄國作曲家。江文也與中國音樂的邂逅或許給我們留下一個極其浪漫的印象。然而只要仔細回顧他的歷程，我們就會理解其中的曲折。他的前衛、跨國姿態總也不能擺脫殖民地臺灣之子的陰影；他所醉心的西方現代主義必須經由日本的中介才能有所得；而讓他生死相許的中國情懷其實來自一位俄國導師的啟發。江文也在不同文化和地緣政治的板塊間來回游走，代表了一代臺灣藝術家如何努力調整自己的身份，回應從殖民主義到帝國主義，從民族主義到國際都會主義（cosmopolitanism）等各種挑戰。當江文也1938年抵達北京時，中國已經陷入抗日戰爭的漩渦中。然而江文也的藝術生涯卻在淪陷的北京蓬勃發展，並在四○年代初達到高潮。他試圖以交響樂《孔廟大晟樂章》（1939）和中日文的詩歌重新定義中國音樂和文字的精髓──儒家禮樂精神。他的音樂和詩歌融合了過去與現在，在「想像的鄉愁」形式下，他進行著大膽創新。已故的捷克漢學家雅羅斯拉夫‧普實克（Jaroslav Průšek，1906-1980）在觀察現代中國的文化和歷史進程時，曾以「抒情性」相對於「史詩性」──或個人的詩意表達相對於集體的政治呼嘯──來界定。江文也一生見誰了普實克對中國現代性這兩種聲音母題的觀察；它顯示了現代中國對「新聲」的追求如何總落入或緘默、或爭辯，或陰鬱、或狂熱的循環。本文將討論江文也在他生涯的轉折點上，如何對「聲音」的現代性作出選擇，以及所必須承受的美學與政治後果。準此，本文以江文也的音樂作品、詩作和理論文章為例證，探問以下的議題：他的現代感性如何凸顯了殖民性、民族性與國際都會性的混淆特質；他在戰爭時代對儒家音樂和樂論的鑽研如何為中國文化本體論與日本大東亞主義間，帶來了不可思議的對話；以及更重要的，歷史的機遇如何激發也局限了江文也的抒情視野。
Jiang Wenye (1910-1983) was one of the most talented composers in modem China and Japan. He was also known for his poetic works in both Chinese and Japanese. Born in Taiwan and educated in China and Japan, Jiang belonged to the generation of Taiwanese artists who struggled to negotiate their identities and respond to multiple challenges from colonialism to imperialism, and from nationalism to cosmopolitanism. Although inspired by such modernists as Debussy, Bartok, and Stravinsky, Jiang found in the Russian composer Alexander Tcherepnin (1899-1977) a kindred spirit, and when the latter called for sonic representations of national style, he began a life-long endeavor to modernize Chinese music. Jiang moved from Japan to China in 1938 and his career climaxed in the early 40's. With his symphony 'Confucian Rites' and poetic pieces, Jiang sought to redefine modem Chinese musicality in light of the ancient melodies which he believed were crystallized in the Confucian practice of ritual and music. As such Jiang's project appears to be an intriguing mixture of the past and the present, a bold invention in a mode of imaginary nostalgia. But Jiang's experiment took place at a time of war, revolution, and atrocity. This trumpeting of his lyrical reconstruction of Chinese civilization was so out of tune with the contemporary 'call to arms' that he was doomed to pay an enormous price for his beliefs. Jaroslav Průšek describes the cultural dynamics of modern China in terms of “the lyrical versus the epic'. Inspired by Průšek's notion, this essay deals with the artistic choices Jiang Wenye made and the political objections he had to cope with. Using select musical pieces, poetic works, and theoretical treatises as examples, this essay explores the following issues:how Jiang's modernist sensibility demonstrated his colonial and cosmopolitan bearings; how his engagement with Confucian musicology brought about an unlikely dialogue between Chinese cultural essentialism and Japanese pan-Asianism; and most important, how his lyrical vision was occasioned by, and confined to, historical contingencies. Because of the contested forces his works and life brought into play, the essay concludes, Jiang Wenye dramatizes the composition of Chinese modernity at its most treacherous. |
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