A Practice Of Coufucianism And Daoism In Modern Music Works—A Case Of Chiang Wen-Yeah’s “Confucian Temple Rites”, Isang Yun’s “Reak”,Pan Hwang-Long’s “Harmohy Of The World”

• Main Authors: Wan-Chuan Wang, 王婉娟
• Other Authors: Yen,Lu-Fen
• Format: Others
• Language: zh-TW
• Published: 2012
• Online Access: http://ndltd.ncl.edu.tw/handle/kbj6t9

碩士 === 國立臺北藝術大學 === 音樂學系碩士在職專班 === 100 === Abstract The essence of performance in musical aesthetics is different between the Western and East culture. The Asian music of 20th century is in the environment which is led by the West and internationalization. How to combine traditional philosophy and modern creativity is the composers’ ideal. This study starts from the orchestra of modern music, searches the outstanding composition which is put the Eastern traditional culture into action, and discusses the East culture how to effect the modern composition. In the mainstream led by Europe nowadays, the study seeks the possibility which could develops their own music traditions and supplies the references of the cultural innovation and heritage to the composers. Chiang Wen-Yeah who is born in Taiwan is the first celebrity of the modern composers in Asia. His masterpiece “Confucian Temple Rites” (1939) is worth probing by the importance of the Eastern culture and the era meaning of the innovative court music. Chiang Wen-Yeah observes the characters from the relationship between Confucian court music and teachings, comprehends philosophical knowledge of the scales, harmony and form, adds the creative conception of the modern music, and expresses the Eastern humanism spirit by orchestra. Besides, the well-known Korean composer, Isang Yun. His orchestral masterpiece “Reak”(1966) reflects the East “Taonism” on the Korean court music. “Taonism” is the fundamental notion in the East philosophy. It represents in every aesthetical field, especially calligraphy which is emphasized on the yin yang doctrine and form coordination. These factors profoundly effect on the strength and aesthesis of calligraphy. Isang Yun uses the spirit of “Taonism” and the yin yang doctrine on the orchestra by the concept of “houptton”. “Harmony Of The World” is the famous chapter of Confucian philosophy. The modern composer in Taiwan, Pan Hwang-Long, had completed “Harmony Of The World” orchestral concerto in 1986-1990. This concerto is applied three unattached movements to represent the ideal harmony world in Confucianism. Although Pan Hwang-Long’s music is well-known for avant-garde, he often shows the mind of the East philosophy. He uses the creative skills which he had learned during the period of studying in Europe and combines the spirit and imagery of the East text creation. By above mentioned, he attempts to express not only the ritual, humble and peaceful essence in Confucianism, but also the harmony scene in modern society. Furthurmore, he represents the extraordinary magnanimity of “Great Music is Simple” in the East music by linking acoustics skills and the East artistic conception together. This study takes three orchestral compositions as examples for observing the cultural foundation of three composers, understanding how to start from the traditions, expressing the artistic style in modern times, and discussing the accomplishment that they reflect Confucianism on modern music. For the nationals and modern artists, this study is expected for transforming the energy in modern times and performing the musical aesthesis of the East culture on the international stage.