dr chiao jian

本書採史引論，以論證史。作者史料充實，論述條理分明，文字也力求簡捷流暢，為關心台灣音樂發展史及有興趣探求台灣作曲家創作風格之愛樂者提供珍貴的參考。

"本書提供了一般人認識與欣賞台灣新音樂創作的指南，以及音樂家與音樂學者進一步研究台灣音樂創作的重要論述參考，嘉惠華文世界的音樂文化園地。" - 潘皇龍 -

"音樂研究作為現代音樂發展的後盾。簡巧珍博士在台灣師大音樂研究所時曾受教於許常惠教授，先是研究南管音樂，繼而將研究重心放在新音樂的發展" - 顏綠芬 -

From the Inside Flap
Even though the book is focused on the study of Taiwan's music composition style after 1960, the author concisely summarized the trajectory of Taiwan's modern music development in a way similar to a General History review. The book not only provides the platform for the history background of the development of Taiwan's modern music, but also provides the convenience for the reader's quick navigation.
 
Due to the shortage of published information and literature, the author mostly relied on precious first-hand materials collected from field interviews. The author not only introduced 9 important composers and 25 representative works with in-depth and comprehensive analysis, but also outlined a clear developing trail about the composition style of Taiwan new music, especially the classification based on artistic characteristics, which is particularly valuable, for instance:
 
(1) 60's as the infancy of modern music
(2) 70's as the period of "traditional" and "innovative" reflections.
(3) 80's as the period of diverse avant-garde.
(4) 90's as the period of coexistence tendency of "innovation" and "return to tradition".
 
The book also consists of the observation and analysis under the process of thematic organization from several aspects viewed in different angles, particularly the concept and structure of traditional Western compositions, traditional Chinese music and thoughts on culture, the influence of Western musical techniques to the compositions of Taiwanese new music, and the difference of the individual style of compositions. This is a more comprehensive way of thinking and discussion angle with a certain degree of difficulty, and concise, accurate, clear and persuasive influence. Some of the formulations are very creative, such as "The sound imagery of Chinese poetry", "The connotation of Zhu Gong Diao", "The borrowed thought of chaining together with tunes", and so on. Regarding to the commentary of Taiwanese composers, the author separated the musical styles into the music of National School, the late romantic, the limited breakthrough of traditional techniques, timbre music and mathematical logic, all full of deep arguments and viewpoints. 
 
The book's architecture is based on the combination of history and argumentation. History is followed by argumentation, and argumentation is demonstrated by history. The writer's work is not only historically fulfilling and coherent, but also concise and engaging as valuable references for the enthusiasts whom are greatly concerned about the versatile composition styles and the development of Taiwanese music history.

本書特色

本書雖然重點在於對一九六O年代以來台灣新音樂創作風格的探究，在出版資料與文獻均十分匱乏的情況下，作者以珍貴的第一手田野採訪材料為主，對九位重要作曲家和二十五部代表作品做了全面介紹與較為深入的分析，進而對六０年代以來台灣新音樂創作的風格特徵概括出一條清晰的發展線索，尤其可貴的是在這個部分做了具藝術特質的分類，例如：
（1）六０年代是現代音樂的萌芽時期
（2）七０年代是「傳統」與「創新」的省思時期
（3）八０年代是前衛多元時期
（4）九０年代是「創新」與「回歸」傾向共存的時期。

該書並分別從西方傳統作曲觀念和結構、中國傳統音樂和文化思維、西方近代作曲技法對台灣新音樂創作的影響，以及作曲家個別風格等不同的側面進行專題梳理與研究。這是一個較全面的思維模式與探討角度，同時也具一定難度，作者卻概括的簡鍊而準確，思路清晰而有說服力。其中諸多提法頗有新意，例如"中國詩學之聲音意象"、"諸宮調的內涵"、"借用曲牌連綴之思維"等。有關台灣作曲家的評述，作者將音樂風格區分為國民樂派--晚期浪漫--傳統技法的有限突破--無調性、音色音樂、數理邏輯等不同類型，亦有充分的論據與觀點。