反抗的要求即是美學的要求：試論作曲家劉韋志的政治性喧嘩

The Commitment to Resistance Is the Commitment to Art: On the Political Heteroglossia in the Works of Wei-Chih Liu

自第二次世界大戰結束以來，對於「反抗」的多樣性討論已經涵蓋各式領域，音樂自是不例外。隨著人類感知經驗框範的質變與不斷調整的價值觀，反抗藝術在各個歷史脈絡中自有其獨特的存在意義，臺灣古典音樂界的狀況又是如何呢？本文以臺灣具同志身分的青壯輩作曲家劉韋志（1985年生）為例，透過分析《RESISTANCE》（為古箏獨奏，2018）、《歪曲之語：眾聲喧嘩二》（為笛［兼蕭、塤與口弦］、大阮與古箏，2018）、《群體盛宴：眾聲喧嘩三》（為無伴奏混聲合唱團，2018）與《RESISTANCE III：卡珊德拉與光》（為三位擊樂家，2021）等作品，探討其作品中的反抗能量。整體而言，劉韋志受到臺灣政治情勢與世界亂象的刺激，意識型態有所翻轉，遂以表達對當代臺灣社會和政治議題之感知為藉口，挑戰音樂文化中的感官價值體系與表現等級，成為一位以否定性元素作為主要美學修辭的作曲家。由於受到瑞舞文化中電子舞曲與娛樂性用藥的影響，他的音樂不僅展現強烈的觸覺肉身性，亦在戲擬與狂歡化中有了接近「現實性」的可能，回應了反抗的要求即是美學的要求之藝術家宿命。

Since the end of World War II, discussions on the concept of“resistance”become predominant in all disciplines, including music. Amid perpetual qualitative adjustments in human perceptions and the ever-evolving values, the art of resistance exerts significance within respective historical contexts. How is the concept of“resistance”incorporated into contemporary classical music in Taiwan? This article examines the compositions of Wei-Chih Liu, a Taiwanese gay composer who came of age in the first decade of the second millennium. Through analyses on RESISTANCE (for solo zheng, 2018), Twisted Words: Heteroglossia II (for flute [doubling xiao, shun, and kou xian], da ruan, and zheng, 2018), Revelry: Heteroglossia III (for mixed choir a cappella, 2018), and RESISTANCE III: Cassandra and Light (for three percussionists, 2021), the author explores the verve of resistance embedded in his works. Susceptible to the political disorder and the chaos in the world, his ideological identification underwent a significant change. Underneath the expressions of social and political discontent, he challenged the sensual value system and the conventional aesthetic hierarchy within the musical art. His musical language features a dominant presence of negation. His exposures to electronic dance music and recreational drug use in the rave sub-culture further instill in his compositions a strong corporeal sensuality, so that he approaches“reality”by an extensive use of parodies and carnivalesques. With his unique idioms of resistance, he responds to the aesthetic calling of contemporary artists.