「固定音」與「移動音」唱名法對流行樂手在轉調視譜應用看法的研究

Abstract

本研究旨在探討流行樂手於流行音樂演奏中，使用「固定音」與「移動音」（首調唱名法）唱名法時，遇到轉調情境在聲部導進之讀譜與認知反應上的差異。研究對象為二十位具相對音感的職業流行樂手，包括鍵盤、小提琴、長笛、吉他與貝斯手。透過對二十位流行音樂工作者之視唱與聽寫測驗，研究者發現使用移動音唱名法者，在轉調時因唱名需隨調性重新定位，產生相對音高與唱名的矛盾，導致讀譜與聲部導進上的困難，進而影響演奏流暢度。反之，使用固定音唱名法者雖不具絕對音感，卻能透過音名預判音高走向，於頻繁轉調的樂句中維持較佳的視唱與演奏連貫性及準確性。據本研究測試後分析與文獻回顧，固定音在多調性結構中具穩定性，移動音則於單一調性或偶爾轉調的作品中有助於理解音階與和聲邏輯，兩者各具優勢。建議流行音樂學習者應兼修兩種唱名法，根據演奏需求靈活運用。透過本研究發現，頻繁轉調與即興比例較高之音樂作品（如爵士），因結構複雜與教育限制，未能普及。如何更有效地推廣和普及頻繁轉調的音樂，並開發新的讀譜或輔助演奏技術，以彌補現有唱名法的不足，是未來可再深入研究的方向。

This study explores the differences in score reading and cognitive responses to voice leading during modulation, comparing fixed-do and movable-do (tonic sol-fa) solfège approaches among twenty professional popular musicians with relative pitch, including keyboardists, violinists, flutists, guitarists, and bassists.Findings from sight-singing and dictation tests reveal that movable-do users encountered greater difficulty during modulations due to constant reassigning of syllables, disrupting fluency and pitch tracking. In contrast, fixed-do users, despite lacking absolute pitch, demonstrated better accuracy and continuity by anticipating pitch through note names. Fixed-do showed greater stability in multi-tonal contexts, while movable-do aided scale and harmony recognition in single-key passages.The study suggests that popular music learners should train in both methods and apply them flexibly. It also highlights the need to develop better tools and techniques to support the performance of modulation-rich and improvisation-based music, such as jazz.