Comparing The Original And The Transcribed Version of “The Butterfly Lovers”/ Eleanor''s Chamber Orchestra Concert

• Main Authors: LIU,PAO-HSIU, 劉寶琇
• Other Authors: CHANG,CHI-JEN
• Format: Others
• Language: zh-TW
• Published: 2004
• Online Access: http://ndltd.ncl.edu.tw/handle/66435465672742790441

碩士 === 東吳大學 === 音樂學系 === 92 === Summary Human uses different symbols to mark off categories. For example, we use different names to distinguish individuals and groups; and we use different colors to distinguish traffic signs, such as danger (Stop!), safe, and other ambiguous meanings like warning. Style is another way of distinguishing. It is formed of various elements, such as instruments, gamut, scales, melody, and ornamentation. What elements are used to form a style or how we form them will lead us to the field of “context”, that is to say, the elements we use to form context A are unlikely to be the same as those of context B. However, “acculturation” makes it possible for different contexts to communicate. The Butterfly Lovers is a classic of the kind of melody which comes from Chinese context (including its composer, performers, source material, and origin) but is accompanied with western elements (including its musical form, contrapuntal feature, harmony, instrument use…etc); thus, it becomes a work that can not be categorized directly, for it has no absolute Chinese style, nor absolute western style. As a result, when we listen to the melody or try to comment on it, we have to consider both contexts to understand and appreciate the music. Maybe that’s why The Butterfly Lovers has always been so popular--- Chinese culture’s being westernized brought about thoughts that consist of both contexts. Considering the context problem mentioned above, when we perform The Butterfly Lovers, we need to notice the limitations of the instruments. It is obvious that when we choose certain instrument for certain part of the melody, it is the fitness between the instrument and the music style that influence our decisions. The comparison among different versions in this text is to sort the problems so that in the future, when we perform, comment on, or listen to The Butterfly Lovers, we can appreciate it on the basis of the whole cultural context and style, not just one. By comparing the differences between the original version of The Butterfly Lovers, I shall reconsider the relationship between “orientalized” western orchestras and “symphonized” traditional Chinese orchestras, and what they have become after being “acculturated.” As a traditional Chinese music expert, I can’t help but keep thinking about the attitude I should hold to face this westernized world. Is it that I should deny all western culture and stick up to our own tradition? Or should I learn from the advantages of western culture without betraying the tradition and develop the syncretism-based method to adapt all kinds cultur *************************************************************** *************************************************************** Eleanor''s Chamber Orchestra Concert Conducted By: Ms. Eleanor P. S. Liu Performed By: Eleanor’s Chamber Orchestra Program 1. Divertimento No.1 D major KV136…………………….W.A Mozart 2. Memory…………………….…….……………Andrew Lloyd Webbe arr. Eleanor P. S. Liu 3. The Butterfly Lovers ……Liuqui: C. C. Chen …J. H. Ho & G. Chen 4. Four Seasons of Taiwan~ <Summer> …….. Liuqin: J. R. Yang ……早川正昭 / arr. Eleanor P. S. Liu ∼Take a Break∼ 5. Pizzicato Polka …………… Johann Strauss / arr. Eleanor P. S. Liu 6. Two Folk Songs of Si Chuan ………………………………..G. J. Gu 7. Fantasy on Two Folk Songs…Liuqui: K. L. Wang ……….. Budashkin Instruments arr. Eleanor P. S.