台湾客家改良戏之音乐研究─以「平板」唱腔演变为例

【外文题名】The Musical Features of Hakka Reformed Opera in Taiwan─The Evolution of the Tune Pattern of “Ping Ban”

【作者】 麦桢琴

【关键词】 客家改良戏 改良调 平板唱腔 老腔平板

【外文关键词】 Hakka Reformed Opera Reformed Tune the tune pattern of “Ping Ban” the tune pattern of “Lao Qiang Ping Ban”

【导师姓名】郑荣兴

【学位名称】硕士

【学位年度】暂无

【学位授予单位】暂无

【所属分类】暂无

【录入时间】2014-11-17

【全文挂接】 读秀挂接

【摘要】和以電唱機播放的33又1/3轉唱片，以及實地採訪現今客家改良戲資深藝人的現場錄音。透過對上述有聲資料的採譜以及對不同時期的音樂特徵進行分析與比對，我們得以系統化的檢視【平板】唱腔音樂細緻的演變過程並進而深入了解其音樂內涵。
本論文研究架構，第一章為緒論，包括客家改良戲的形成經過與唱腔介紹。第二章為【平板】唱腔之淵源與演變探討，並將小戲過渡到大戲之唱腔音樂演變做一歸納整理。第三章以搜集之有聲資料與實地採訪藝人的演唱錄音予已採譜呈現改良戲中的【平板】唱腔音樂。第四章為【平板】唱腔之音樂分析，從樂曲結構、唱詞、演唱詮釋做深入分析。第五章結論，對【平板】唱腔之演變歷程、音樂內涵與演唱特色做一歸納與探討。
研究結果顯示，民國初年「客家改良戲」形成之初，藝人係以「三腳採茶戲」中「採茶腔」系統的【老腔平板】為曲體架構。有關於此【平板】唱腔係源於【老腔平板】的論點，我們藉由對曲式結構與中心音建立的比對提供了重要的佐證。經過藝人們長期實驗及吸納其他劇種之唱腔，至民國三O年代後期臺灣光復後，較為成熟的改良【平板】唱腔始出現在「客家改良戲」中，此時行腔注重「牽韻」、「做韻」，這種唱腔表現的自由空間提供了個別藝人於同中求異的可能，自然也有助於樹立藝人們個別的演唱風格。...

【外文摘要】The “Ping Ban” is one of the major tune patterns of the Hakka Reformed Opera in Taiwan, which is also called the “Reformed Tune” since it has evolved and has been improved during a rather long period. Most of previous researches about the evolution of this tune pattern focused on its historical aspects, whereas the detailed evolutionary progress of the musical contents itself was highly deficient. To compensate this deficiency, we extensively collected the audio materials starting from the beginning stage of the Hakka Reformed Opera until the present days, which include the Celluloid phonograph records of 78 rpm and the LP phonograph records of 33 plus 1/3 rpm made during the era around 1910 to 1960, and the field recordings of the existing Hakka opera performers. By transcribing the aforementioned audio materials into musical notes, and then analyzing and comparing the musical contents of various time periods, systematic and comprehensive information about the evolution progress of the tune pattern of “Ping Ban” was obtained. The chapter arrangement of this thesis is as follows. The First Chapter introduces the development of the Hakka Reformed Opera and its tune patterns. The Second Chapter describes the evolution of the tune pattern of “Ping Ban”, and explains the transition of tune patterns when Hakka plays were developed from the form of “Xia Xi” to the form of “Da Xi”. The Third Chapter gives the musical notes transcribed from the collected audio materials and the written records for visiting Hakka Opera performers. The Fourth Chapter discuss the analysis of the musical contents of the “Ping Ban”, including its musical structure, lyrics and theatric articulations. The final Fifth Chapter makes concluding remarks about the evolutionary progress of the musical contents of the tune pattern “Ping Ban”. Our research results showed that, during the beginning stage (around 1910) of the Hakka Reformed Opera, the common used musical structure was the “Lao Qiang Ping Ban” adapted from the tune pattern “Cai Cha” of the Hakka play “San Jiao Cai Cha”. Our analysis and comparison about the formation of the musical structure and the central tone provided strong evidence for the inference that the tune pattern of “Ping Ban” was originated from the tune pattern of “Lao Qiang Ping Ban”. In the following several decades, the facts that many Hakka opera performers made extensive experiments and adopted some features from other types of theater plays induced the development of the tune pattern of “Ping Ban”. It was then after the recovery of Taiwan Province (1945), the tune pattern of “Ping Ban” appeared in the Hakka Reformed Opera developed to a relatively mature stage. At that time, the tune pattern of “Ping Ban” has already adopted the features with “Qian Yun” (modulating and sustaining the ending tones) and “Zuo Yun” (adding decorative tones), thus can provide plenty rooms for each of the Hakka opera performers to show his/her own distinct theatric articulation style....