吹戲訴情—當代臺灣劇場歌仔戲吹管樂器的適況展演
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2022
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Abstract
本論文探討歌仔戲音樂中，文場主要吹管樂器，包括「品仔」、「洞簫」、「鴨母達仔」以及「嗩吶」的使用，並以「品仔」（笛子），以及當代劇場中吹管樂師經常使用的其他吹管樂器為主要探討對象。由於大多數歌仔戲演出時，吹管伴奏樂師需要一人身兼多種樂器，本文透過藝師訪談、既有影音資料的分析，以及作者自身經驗的整理等方法，探討吹管伴奏樂師運用不同吹管樂器的原則與考量。研究結果盼能讓讀者對於笛子與其他常用於劇場歌仔戲中之吹管樂器的運用模式與內涵意義有更深入的了解，並能啟發歌仔戲吹管樂師，使其對於如何演奏歌仔戲曲調，以至於使用傳統風格進行個人創作能有更豐富的想法。
This paper discusses the use of the major wind instruments in Taiwanese Opera (gezixi), including the pinzai, the dongxiao, the duck mother dazai, and the suona, with an emphasis on the pinzai (the dizi) and the other wind instruments that were commonly used in modern theater of Taiwanese opera. In most accompaniments for the Taiwanese Opera, the wind instrumentalist is usually required to manage multiple wind instruments to help reduce production costs. How did the wind instrumentalist decide which instrument to be used without instruction? This research aims to explore the principles and considerations of wind instrumentalists by conducting interviews with selected artists, analyzing audio-visual recordings of their performances, and reflecting the author’s own performance practices. The research results are expressed through thematic analysis, which aims to benefit the readers’ understanding of the applications and the connotations of the pinzai (the dizi) and the other wind instruments that were commonly used in modern theater of Taiwanese Opera. In addition, through presenting the principles in traditional and adopting them in newly-composed tunes, the researcher hopes to theorize ways of cultural preservation and transmission.
This paper discusses the use of the major wind instruments in Taiwanese Opera (gezixi), including the pinzai, the dongxiao, the duck mother dazai, and the suona, with an emphasis on the pinzai (the dizi) and the other wind instruments that were commonly used in modern theater of Taiwanese opera. In most accompaniments for the Taiwanese Opera, the wind instrumentalist is usually required to manage multiple wind instruments to help reduce production costs. How did the wind instrumentalist decide which instrument to be used without instruction? This research aims to explore the principles and considerations of wind instrumentalists by conducting interviews with selected artists, analyzing audio-visual recordings of their performances, and reflecting the author’s own performance practices. The research results are expressed through thematic analysis, which aims to benefit the readers’ understanding of the applications and the connotations of the pinzai (the dizi) and the other wind instruments that were commonly used in modern theater of Taiwanese Opera. In addition, through presenting the principles in traditional and adopting them in newly-composed tunes, the researcher hopes to theorize ways of cultural preservation and transmission.
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歌仔戲音樂, 吹管樂器, 適況展演, 加花, Gezixi (Taiwanese opera), wind instrument (aerophone), situated performance, ornamentation