再興春華秋實：「春秋樂集SQ＋」的遺緒與省思

Reviving the Spring Blossoms and Autumn Fruits: Reflections on the Legacy of “Spring Autumn Music SQ+”

由馬水龍創立、邱再興文教基金會主辦的「春秋樂集」（1991-2001）與「春秋樂集SQ＋」（2010-16），為臺灣樂壇提供重要的當代古典音樂的發表平台，其中帶有特殊命題的「春秋樂集SQ＋」，催生不少融合東西方樂器與風格的作品，所得成果值得探討。本文首先針對「春秋樂集SQ＋」的策展背景與成果提出概述，說明馬水龍指定「弦樂四重奏加東方傳統樂器」這類組合的原因，以及「春秋樂集SQ＋」所反映的美學觀。其次再透過幾首「春秋樂集SQ＋」的曲目分析，展現箇中相對成熟或具特色的樣貌，並與其他前輩的同編制作品有所連結與比較。整體而言，馬水龍根據其認同的歷史典範，懷抱著以特有的東西方樂器組合來成就一種既保留又超越傳統的音樂理想，箇中意義值得回顧與反思。

 

Founded by Shui-Long Ma and organized by the Chew’s Culture Foundation, “Spring Autumn Music” (1991-2001) and “Spring Autumn Music SQ+” (2010-16) served as significant platforms for contemporary classical music in Taiwan. The specially themed “Spring Autumn Music SQ+” inspired numerous works combining Eastern and Western instruments and styles, offering valuable material for exploration. This paper first presents an overview of the curatorial background and the achievements of “Spring Autumn Music SQ+,” explaining Shui-Long Ma’s rationale for emphasizing the combination of string quartets with traditional Eastern instruments and the aesthetic perspectives reflected in this initiative. Subsequently, the paper analyzes selected works from “Spring Autumn Music SQ+,” highlighting relatively mature or distinctive examples and drawing connections with similar works by earlier composers using the same instrumentation. Overall, informed by historical paradigms he identified with, Shui-Long Ma envisioned an ideal of music that both preserved and transcended tradition through the distinctive combination of Eastern and Western instruments. The implications of this vision merit review and reflection.