尹伊桑《『篳篥』雙簧管獨奏 (1971)》 之研究分析與演奏詮釋

Abstract

Oboe is one of the expressive wind instruments among today’s Western woodwinds. The sound principle is to wrap and fix two pieces of reeds on the metal pipe and to make reeds vibrate and produce sound through player’s control and playing. In terms of traditional musical instruments of the East, there are many double reed instruments with the same sound principle as oboe, such as suona, wicker horn ... etc., which produce sound by blowing reeds and changing the pitch through the sound hole of the pipe body. The repertoire factions current professional oboe players learn are divided into baroque, classical, romantic and modern music repertoire, the performance skills and interpretation of which are the ability indexes for oboe players in music competitions and music academy exams of all sizes. From baroque and classical in the eighteenth century to romantic in the late nineteenth century, the music, harmony, musical form of these three music schools had gradually developed to reach the limit. The composers after the twentieth century started to find and try different music material and sound effect. For example, Arnold Schonberg (1874-1951) used twelve-tone row, atonal and serial music; Paul Hindemith (1895-1963) advocated neoclassical and used many discordant interval and complex rhythms into the traditional musical form; more musicians organized their own folk music and materials and wrote them into their own works, such as Kodaly (Zoltan Kodaly, 1882-1967). This paper mainly explores Isang Yun (1917-1995), a South Korean-German composer of the twentieth century. His composition characteristics are using Western musical techniques and integrating Eastern culture and ideas into his works, such as “wicker horn for oboe solo”, which is full of rich Asian culture and characteristics. I expect to grasp the conception of repertoire he wrote under the same background of Asian cultural community and to establish the interpretation reference for players.