廖憲一《嶼之吟 II : 原聲》

廖憲一《嶼之吟 II : 原聲》為木笛七重奏與電聲 器樂劇場

Hin-Iat Liu “Hear the voice from Taiwan II - Sound of Aborigines” Instrument Theater of Septetto for Recorders ensemble and Electronic (2022)

 

＃此作品由清大木笛合奏團委託創作之作品 This music is a work commissioned by the performer.

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樂曲解說

    作品以「台灣原住民歌曲」為發想，以直笛的現代聲響技法表現，與取樣原住民歌曲經由電聲的片段化、重組、聲響扭曲變化與融合並置，再以劇場形式與音樂互動的形式更能凸顯音樂的感受，因此整首音樂的呈現既能保有台灣原住民的特色，又有現代音樂聲響的多重享受，也成為古今的台灣文化交織與共融。

 

此作品共分為六個部分，分別描寫台灣原住民同的場景與故事：

 

第一部分：Ａ段【祈求】

    本段取用「魯凱族《Saw Ba Li Ba Li Va Ne》(祈求、陳述工作順利歌)」作為引導，以虔誠的心向祖靈祈求，祈求耕種、狩獵、捕魚等工作順利、也祈求得到豐收，以 ♭E 滑音作為人民的祈禱聲，不斷地向天祈禱。

 

第二部分：Ｂ、Ｃ段【迎接】

    本段取用「布農族《Matin Pasolu》(歡迎歌) 」作為迎接工作的開始，藉由旋律中的大音程跳進的裝飾音來模仿不同地方迎接的呼喊。

 

第三部分：Ｄ、Ｅ、Ｆ段【工作】

    本段取用「布農族《Tultul》(杵音)」作為工作場景，此音樂為布農族拿著杵進行搗米的工作，利用此規律的節奏襯底展現出大家工作的樣貌。

 

第四部分：Ｇ段【祈求豐收】

    本段取用「布農族《Pasi But But》(祈禱小米豐收歌)」作為再次的祈求豐收，以直笛的和聲堆疊來模仿布農族的八部合音，音堆的不斷上升使祈求的能量越來越集中，並送達到天上。

 

第五部分：Ｈ、Ｉ、Ｊ、Ｋ段【恩賜】

    本段除了綜合前段所取用的音樂，延續祈求聲音與規律的工作節奏音型外，再融合「泰雅族《Lu Ga Ma Ya Nu》(向祖先祈求力量歌)」的電聲變化，表達出我們的豐收都是依靠祖先的力量。

 

第六部分：Ｌ段（回歸Ａ段）【圓滿】

    本段再次取用「魯凱族《Saw Ba Li Ba Li Va Ne》(祈求、陳述工作順利歌)」作為工作的圓滿順利，表達對於祖靈的感謝，並且一同分享這次的豐收成果，以及祈求下一次同樣能夠再次的豐收。

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Program Note：

    The music is based on "Taiwan aboriginal songs", expressed with the modern sound technique of the recorder, and the aboriginal songs sampled through electroacoustic fragmentation, reorganization, sound distortion and fusion, and then interacting with the music in the form of theater The form can better highlight the feeling of music, so the presentation of the whole music can not only maintain the characteristics of Taiwan's aborigines, but also enjoy the multiple enjoyment of modern music sounds, and also become the interweaving and integration of ancient and modern Taiwanese culture.

    This music is divided into six parts, which respectively describe the scenes and stories of Taiwan's aborigines:

 

Part I: Section A【pray】

    This section is guided by "Saw Ba Li Ba Li Va Ne" (song of praying and stating the success of work) of the Rukai people, praying to the ancestors with a devout heart, praying for the smooth work of farming, hunting, fishing, etc. Pray for a good harvest, use the ♭E portamento as the prayer of the people, and keep praying to the sky.

 

Part II: Sections B and C【welcome】

    This section uses "Bunun "Matin Pasolu" (Welcome Song)" as the beginning of the welcoming work and uses the embellishments of the large intervals in the melody to imitate the greeting calls in different places.

 

Part III: Sections D, E, and F【Work】

    This section uses "Bunun "Tultul" (pestle sound)" as the work scene. This music is the work of the Bunun people holding a pestle to pound rice. Using this regular rhythm background to show everyone's work appearance.

 

Part IV: Section G【Pray for a good harvest】

    This section uses "Bunun's "Pasi But But" (Praying for a Harvest Millet Song)" as another prayer for a good harvest. The harmony stack of the recorder is used to imitate the eight-part harmony of the Bunun. The continuous rise of the stack makes the prayer the energy is more and more concentrated and sent to the heavens.

 

Part V: Sections H, I, J, and K【Gift】

    In addition to synthesizing the music used in the previous section, this section continues the praying sound and regular working rhythm, and then integrates the electronic sound changes of "Atayal "Lu Ga Ma Ya Nu" (Praying to the Ancestors for Power Song)" to express the All our harvests depend on the strength of our ancestors.

 

Part VI: Section L (Return to Section A)【Consummation】

    This section again uses "Saw Ba Li Ba Li Va Ne" from the Rukai people (song of praying and stating the success of work) as the success of the work, expressing gratitude to the ancestors, and sharing the fruits of this harvest together, and praying the next time will also be able to harvest again.

   

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