從後場伴奏到器樂人聲－北管戲《北管福路－陰陽會》唱段在二胡上的實踐
No Thumbnail Available
Date
2022
Authors
Journal Title
Journal ISSN
Volume Title
Publisher
Abstract
北管，是臺灣傳統音樂中的一大重要樂種，經由長時間發展而有了在地性的 變化。本研究通過文獻分析及筆者的學習經驗，從北管在臺的發展歷程、兩大系 統中的唱腔板式，及北管音樂中常使用的樂器做一個詳細介紹。提弦為北管福路戲曲之主弦，在演奏手法上雖然沒有二胡的複雜技巧，卻有 獨特的表現手法，在口傳心授的傳授方式下，缺乏系統性之紀錄與保存，透過與 藝師邱火榮學習，記錄提弦的加花演奏方式並加以整理。「器樂聲腔化」是二胡演奏家閔惠芬於 20 世紀 90 年代所提出的學術命題， 本研究嘗試以「聲腔器樂化」之方式，將北管福路戲曲《陰陽會》中的正調唱段 改編為《北管福路-陰陽會》二胡小品，並加以分析與詮釋。本文僅是筆者踐行「聲腔器樂化」及北管音樂之傳承保存等相關研究，為當 前階段的第一步，筆者將持續學習於此。期盼通過本研究的小小成果，為以上兩 個學術命題達到拋磚引玉之效果。
Beiguan is one of the significant traditional music in Taiwanese. It has been gradually changed by local culture in a long period of its evolution. According to literature references and the author's learning experiences, this paper focuses on Beiguan’s development in Taiwan, analysis of two forms of ban-qiang genres and detail introduction of common-used instruments of Beiguan. Tixian is the primary string instruments of Beiguan Fulu opera. Although it does not require complex playing skills comparing to Erhu, it requires an unique playing method. In the past time, people leaned Beiguan by Oral teaching. As the result of that, systematic records and preservation are lacked. The author aim to sort out Tixian’s playing methods by learning from Chiu, Huo-Rong.Instrumental vocalization is an academic proposition which was officially proposed by Ming Hui-fen during the 90s . This study attempts to use the transforming intonation to instrumentation methods. In order to do that, the Zheng Diao in the Beiguan Fulu opera"Yinyanghui" was adapted into the erhu version which is called "Beiguan Fulu-Yinyanghui". The analysis and annotaion of the "Beiguan Fulu- Yinyanghui" are also inclued. The study is the first step of the research in transforming intonation to instrumentation and the cultural heritage of Beiguan music. For the bigger picture, this paper is expected to stimulate more future discussions in relevant studies.
Beiguan is one of the significant traditional music in Taiwanese. It has been gradually changed by local culture in a long period of its evolution. According to literature references and the author's learning experiences, this paper focuses on Beiguan’s development in Taiwan, analysis of two forms of ban-qiang genres and detail introduction of common-used instruments of Beiguan. Tixian is the primary string instruments of Beiguan Fulu opera. Although it does not require complex playing skills comparing to Erhu, it requires an unique playing method. In the past time, people leaned Beiguan by Oral teaching. As the result of that, systematic records and preservation are lacked. The author aim to sort out Tixian’s playing methods by learning from Chiu, Huo-Rong.Instrumental vocalization is an academic proposition which was officially proposed by Ming Hui-fen during the 90s . This study attempts to use the transforming intonation to instrumentation methods. In order to do that, the Zheng Diao in the Beiguan Fulu opera"Yinyanghui" was adapted into the erhu version which is called "Beiguan Fulu-Yinyanghui". The analysis and annotaion of the "Beiguan Fulu- Yinyanghui" are also inclued. The study is the first step of the research in transforming intonation to instrumentation and the cultural heritage of Beiguan music. For the bigger picture, this paper is expected to stimulate more future discussions in relevant studies.
Description
Keywords
北管音樂, 主弦, 加花, 器樂化, Beiguan music, Leading instrument, Jiahua, Instrumentalize