劉德海琵琶創作中按指布局法的應用和音響追求──以《平安玉珠送親人──獻給白衣天使》為例

Left-Hand Fingering and Sound Expectation in Liu De-Hai’s Pipa Compositions-Taking“Sending Peaceful Jade Beads to Loved Ones-Devoted to Nurses”as an Example

《平安玉珠送親人──獻給白衣天使》琵琶獨奏曲創作於2020年，是劉德海先生一生中最後創作的一首獨奏曲，此首樂曲由葛詠在其博士音樂會中首演。本文跳脫常用的音階組成和旋律線條等音樂元素分析方式，主要以「按指布局」和「音響追求」兩個角度來思考此首作品，試圖解釋此作品在創作過程中，劉氏如何以按指布局作為其中一個核心手段，來達到其對餘音堆疊音響的核心追求。因此，本文將以此樂曲為核心，文章前半段討論按指布局，在後半段討論音響追求，與按指布局的關連性。

“Sending Peaceful Jade Beads to Loved Ones-Devoted to Nurses”is a pipa solo piece composed in 2020, which is the final composition by Liu De-Hai and premiered by Ge Yong in her PhD recital. In contrast to the analysis of musical elements (e.g. notes, scales, and melody line), I mainly apply two perspectives (left-hand fingering and sound expectation) to analyse this piece, intending to explain how Liu De-Hai utilises left-hand fingering as a core method to fulfil the demand of his sound expectation. Thus, I discuss left-hand fingering in the first half of this article, analysing the relationships between left-hand fingering and sound expectation in the second half.