The Evocation of the Motherland: The Research and Interpretation of Ahim Tan's Huit Caprices de Tamsui for Guitar Suite

• Main Authors: JEN CHIEN LIN, 林仁建
• Other Authors: MING JIAN FANG
• Format: Others
• Language: zh-TW
• Published: 2010
• Online Access: http://ndltd.ncl.edu.tw/handle/66463936715350293702

碩士 === 國立臺灣藝術大學 === 音樂學系碩士班 === 98 === After the guitar poet, Chao-hsuan Lu (1929-), Ahim Tan (1968-) is considered as one of the most representative guitar music composer in Taiwan. Because of the background of his native nature and many years of study experience in France, his works possess genuine innovations with the compatible spirit and gathering each other together, such as the musical materials from Taiwan, China, and the West, either from the ancient and the modern times. In a view of panoramic composition technique, he creates unique musical languages by personal experiments. Finished in 2003,《Caprices of Tamsui Suite》is listed as one of his best guitar works. 《Caprices of Tamsui Suite》, a program music, contains eight different titles of movements which are with strong characteristics of musical painting. This work is derived from composer’s experiences of life scenes, he transformed each inmost scene into beautiful musical notes, as same as the French composer Claude Debussy(1862-1918) inverted the prevailing musical-painting analogy and identified his music with the Impressionistic painting of James Abbott McNeill Whistler (1834-1903). This study consists of five parts. The first is the composer’s biography and the work’s compositional background. The second deals with musical styles of the composition and characteristics of the musical painting. The third part aims at musical analysis of each movement including form, chord progression, rhythm, melody and figure. Explanations of special performing techniques and suggestions of difficult fingerings are provided in the fourth part. The fifth part is an addendum including composer’s portfolio, some words about these pieces from composer, interview excerpt with composer, and corrigenda for published scores. Under the research in various facets, the author hopes it will benefit the performers a comprehensive and a profound understanding towards this representative work of Taiwan guitar music.