一種文學啟示性的音樂創作：以作曲家楊聰賢為例

Music Composition Inspired by Literary Works: The Example of Composer Tsung-Hsien Yang

音樂與文學雖然是不同的藝術型態，自古以來互為啟示之例卻所在多 有。綜觀臺灣的嚴肅音樂創作者，在創作中「與文學作品對話」而知名的楊 聰賢，可說是一位秉持著高度熱情閱讀文學作品，且積極從中攫取養分、深 化思考並援引入樂的作曲家。其中日本作家川端康成、捷克作家昆德拉、義 大利作家卡爾維諾與臺灣作家舞鶴，均扮演重要的引領角色，舞鶴的影響力 尤為深刻。筆者與楊聰賢進行訪談，閱讀對其影響重大的文學作品，聆聽其 三十年來的創作，最後綜整其音樂與文學關係的探討。 本文先從川端作品美與傷悲的特質中，論及楊聰賢個人性格中的憂傷底 蘊；之後提出舞鶴所追尋的三種自由，如何在其作品中呈現，並給予楊聰賢 情感的激發與寫作技法上的啟示；最後進行楊聰賢作品的特色分析，從《山 水寮札記》、《傷逝》、《含悲調》、《舞亂 歌 迷鶴》與《失落之歌》等作品， 探看楊聰賢如何從音樂望向文學的迂迴敘事中，逐漸由生澀轉向成熟，而能 在適切融合的語彙中表達對社會的關懷，並持續向大開大闔之自由的音樂境 界邁進。

Music and literature are two distinct art forms, yet there are countless ways in which the two sister arts interact and inspire each other since antiquity. Among contemporary Taiwanese composers, Tsung-Hsien Yang is known for his passion to take on''dialogues with literary works'' in his musical compositions. He is an avid reader of literary works and absorbs nutrients from his readings to deepen the ideas in his works. Novelists important to him include Yasunari Kawabata, Milan Kundera, Italo Calvino, and Wu He. Through interviews with Tsung-Hsien Yang and rereadings of literary works he loved, the author reexamines the works of the musician written during the last three decades to explore the relationship between literature and his compositions. The article starts with the discussion on the aesthetics of melancholy in Kawabata and relates it to the pensive undercurrents in the personality trait of Yang. The author continues to investigate how the three types of freedom which Wu He pursues serve as emotional stimulation and technical inspiration for Yang's musical creations. Finally, an analysis on the features of Yang's musical works is done through a study on five of his works, Albumblätter from Sansui Shack for solo piano, Grieving the Evanescing for orchestra, Lacrimosa, a duet for one oboe player with a pre-recorded oboe part, Danse-extatique / Chant / Enigmatique-grue for solo clarinet and Song of Losses, an Oboe Concerto. With the discursive narratives incorporated into his works, Yang develops a unique musical vocabulary which expresses his concern for the society and achieves greater freedom in his mature style.