音樂手稿與樂譜的編排與描述──以臺灣作曲家賴德和檔案為例

Arrangement and Description of Music Manuscripts and Scores: An Example of Taiwanese Composer LAI Deh-Ho's Collection

音樂是聲音的藝術，需仰賴書面記譜進行保存，幾世紀下來，累積了大量的音樂作品。由於其特殊的時間性與唯一性，導致此一實體存在，即作曲家於創作階段中所產生的各種手稿與樂譜，需要被完整地保存、編排與描述。本文擬由檔案角度切入，透過梳理音樂手稿與樂譜在分類與編排上的規範，以及奠基於《檔案描述內容標準》（DACS）的資料內容描述，最終以臺灣作曲家賴德和（1943－）捐贈檔案中的音樂手稿與樂譜為例，進行實證分析，並歸納結論與建議。希望藉由本文由理論到實證的探究過程，能夠對臺灣乃至於華語地區之音樂檔案研究有所助益。

Music is the art of sound and needs to be preserved with music notation. Over the centuries, a large number of musical works have been accumulated. Due to their particularity and uniqueness, the various music manuscripts and scores composed during the creative stage have to be completely preserved, arranged and described. This article intends to start with the perspective of archival studies, through combing the standards of music materials' classification and arrangement, as well as the description of the content based on the''Describing Archives: A Content Standard''(DACS), then takes the Taiwanese composer LAI Deh-Ho's collection as an example, carries out the empirical analysis and puts forward the conclusions and suggestions. This article is expected to be helpful to the research of music archives in Taiwan and even in the Chinese-language regions.