國樂合奏作品與多元文化音樂素材融合之可行性：以王辰威《姊妹島》為例

Chinese Orchestral Compositions with Multicultural Musical Elements: A Case Study of Wang Chenwei's ＂The Sisters' Islands＂

傳統國樂合奏作品，已大量融會「多元文化音樂素材」於作品中，如古曲、民間音樂、戲曲音樂。但多數國樂合奏作品主要限於運用「漢族傳統音樂素材」或「中國少數民族音樂素材」創作，也就是「多元文化音樂素材」主要限於「大中華地區」。近年來，各樂團開始力邀作曲家創作「非漢族傳統音樂素材」的作品，使音樂會的曲風更廣，開拓「非大中華地區」風格的國樂曲目，展現出多元文化風格。可惜的是，「非大中華地區」的「多元文化音樂素材」與中國音樂特性相差甚遠，不如「漢族傳統音樂素材」或「中國少數民族音樂素材」與中國音樂擁有許多相同的音樂語彙，兩者融合性較高。因此，許多作品因完整度與可聽性不高，僅演出一次，無法達到作品的普及性。因此，對於此類型委約作品產生質疑聲浪四起。本文將以新加坡作曲家王辰威（1988-）《姊妹島》為例，此作品於2006年獲得新加坡作曲家獎，並於創作後十年間，不間斷於新加坡以及「大中華地區」演出。筆者將分析作曲家王辰威《姊妹島》如何能適當掌握每一種中國樂器的特性與聲響，並結合印尼甘美朗、馬來舞蹈、中東音樂之「多元文化音樂素材」，討論國樂合奏作品與「多元文化音樂素材」融合之可行性，並綜合討論「大中華地區」國樂團對於「多元文化」的概念與新加坡的不同。

Earlier Chinese orchestra musical compositions have incorporated ＂multicultural musical elements＂ such as ancient tunes, folk music, and theater music. However, most of these compositions do not venture beyond using musical elements from traditional music of the Han Chinese or ethnic minorities in China, thus restricting multicultural musical compositions to the musical styles of ＂Greater China.＂ In recent years, a number of Chinese orchestras have begun to commission composers to produce Chinese orchestra music with ＂non-Han musical elements＂ in order to broaden their musical horizons and introduce more musical diversity in their concert programs. Unfortunately, many of these multicultural compositions never gained popularity due to inadequate reconciliation of differences between the chosen musical style and the Chinese orchestra medium. As a result, some were only performed once and forgotten. This article uses Singaporean composer Wang Chenwei's ＂The Sisters' Islands＂ as a case study of a successful Chinese orchestra composition with multicultural musical elements. ＂The Sisters' Islands＂, which won the Singapore Composer Award at the 2006 Singapore International Competition for Chinese Orchestral Composition, has been frequently performed in Singapore and the Greater China region over the last decade. I discuss how Wang Chenwei's ＂The Sisters' Islands＂ effectively grasps the characteristics and sounds of each Chinese musical instrument and incorporates Indonesian Gamelan, Malay dance, and Middle Eastern musical elements. I suggest that, on the one hand, ＂The Sisters' Islands＂ presents the feasibility of fusing the Chinese orchestral medium with multicultural musical elements; on the other hand, it demonstrates the different understanding of ＂multiculturalism＂ in Greater China versus in Singapore, a Chinese majority country in Southeast Asia.