韓裔德籍作曲家尹伊桑以融合東西方音樂元素聞名，他擅長將西方現代作曲手法、韓國傳統音樂的演奏技巧與語法，以及道家思想巧妙結合於其作品中。本文主要探討尹伊桑大提琴獨奏作品《滑奏》中東西方音樂文化的融合及其獨特性，透過樂曲分析，闡述尹伊桑如何將西方「十二音列技法」，與其源於東方音樂的特有表達方式「主幹音技法」整合運用，進而創造出一個「有機體」。文中亦探討韓國傳統樂器「奚琴」和「玄琴」之演奏技法在《滑奏》中的應用，並分析韓國傳統音樂中「弄弦」技巧如何經由大提琴這項樂器轉化呈現。本文也針對《滑奏》中多樣化的「滑奏」技巧進行初步分類，藉此瞭解尹伊桑在融合東西方技巧方面的音樂理念。《滑奏》展現獨特的音色聲響、豐富的「滑奏」語彙與跨文化融合的作曲手法，這些特質能啟發當代大提琴音樂創作，進一步發展出更多元的聲音想像，拓展更多樣化的演奏技巧，並融入更深層的跨文化美學思維。

Isang Yun, the Korean-born-German composer, is particularly known for his integration of Eastern and Western musical elements in his musical compositions. He masterfully combines avant-garde compositional techniques, traditional Korean musical performance practices and techniques, as well as Taoist philosophy into his works. This article primarily explores the fusion of Eastern and Western musical vocabularies and their unique application in Isang Yun’s cello solo piece, Glissées. Through musical analysis, this study elucidates how Yun creates “an organic entity” by coupling 12-tone method with “Haupttöne” technique, derived from oriental musical tradition. The author also investigates the application of performance techniques from Korean traditional instruments, including “haegeum” and “geomungo” in Glissées, and analyzes how the convention of “nonghyŏn” is adopted and appropriated for the western instrument of cello. In addition, through a preliminary classification of glissando techniques in Glissées, it is hoped that Yun’s mixed use of Eastern and Western techniques can be better appreciated. To conclude, by accommodating a rich glissando vocabulary, Glissées presents a unique timbre and showcases a cross-cultural compositional approach. These characteristics inspire contemporary cello music compositions, so that they can manifest more diversified sound palettes, expand on performance techniques, and ultimately embody more sophisticated cross-cultural aesthetics.

尹伊桑; 大提琴獨奏; 《滑奏》; 主幹音技法; 滑奏; 東西方音樂元素

Isang Yun; cello solo; Glissées; “Haupttöne” technique; glissando; Eastern and Western musical elements