論臺灣民間音樂〈百家春〉之多元樣貌-以陳中申中胡協奏曲《百家春》為例
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2023
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臺灣民間音樂中的〈百家春〉，不止歸屬於單一樂種中，根據筆者的資料搜集，於 北管、南管、客家八音以及十三音中皆看過〈百家春〉這個詞，且在不同樂種中〈百家 春〉之間的關係和演變過程，似乎有著密不可分的現象。或許也是因為這個現象，促使 許多臺灣作曲家使用民間傳統音樂素材—〈百家春〉，作為創作樂曲的發想與動機。以〈百家春〉為樂曲創作素材的作曲家，如:郭芝苑於 1954 年改編的混聲四部合 唱曲《百家春》、許常惠於 1981 年創作的作品三十六號:鋼琴與國樂團之協奏曲《百 家春》、陳中申於 1987 年創作的中胡協奏曲《百家春》以及黃振南於 1995 年創作的聲 樂協奏曲《百家春》中，都曾使用〈百家春〉作為樂曲的創作動機。本文將透過文獻彙整，分析民間音樂中不同樂種〈百家春〉之間的關聯，並搜集以 其為樂曲素材的作品，分別以郭芝苑、許常惠、陳中申以及黃振南等人之《百家春》為 例，透過文獻整理與樂曲分析的方法，研究四位作曲家的創作理念，探討〈百家春〉之 演變。其中將以陳中申所創作之中胡協奏曲《百家春》，作為此次研究的主要方向。期望 藉由分析此曲之樂曲結構，以中胡演奏的實踐與詮釋加深對本作品的理解。更希望能透 過以上的研究，於文中體現「百家春」的重要性以及可能性，作為臺灣民間音樂保存與發展的重要參考紀錄。
The Taiwanese folk music “Baijiachun” is not limited to a single musical genre and has been used in various styles including Beiguan, Nanguan, Hakka Bayin, and Thirteen Tones. The connection and evolution process between these different genres of “Baijiachun” is closely intertwined. This may explain why many Taiwanese composers find this piece of the traditional folk music inspiring for their compositions.Throughout the history, “Baijiachun” has been creative influence for many composers. Works inspired by the same title include Kuo Chih-Yuan’s mixed chorus adapted in 1954, Hsu Tsang-Houie’s piano and Chinese orchestra concerto composed in 1981, Chen Chung-Sheng’s zhonghu concerto written in 1987, and Huang Zhen-Nan’s vocal concerto created in 1995. By studying the creative ideas of these composers, this thesis aims to investigate the evolution of “Baijiachun” through musical analysis.This study focuses primarily on Chen Chung-Sheng’s zhonghu concerto and analyzes its musical structure and interpretation of the zhonghu performance, with the aim of deepening the understanding of this captivating work. Through this research, I hope to demonstrate the importance and potential of “Baijiachun” in preserving and developing Taiwanese folk music, making it a valuable reference for future studies.
The Taiwanese folk music “Baijiachun” is not limited to a single musical genre and has been used in various styles including Beiguan, Nanguan, Hakka Bayin, and Thirteen Tones. The connection and evolution process between these different genres of “Baijiachun” is closely intertwined. This may explain why many Taiwanese composers find this piece of the traditional folk music inspiring for their compositions.Throughout the history, “Baijiachun” has been creative influence for many composers. Works inspired by the same title include Kuo Chih-Yuan’s mixed chorus adapted in 1954, Hsu Tsang-Houie’s piano and Chinese orchestra concerto composed in 1981, Chen Chung-Sheng’s zhonghu concerto written in 1987, and Huang Zhen-Nan’s vocal concerto created in 1995. By studying the creative ideas of these composers, this thesis aims to investigate the evolution of “Baijiachun” through musical analysis.This study focuses primarily on Chen Chung-Sheng’s zhonghu concerto and analyzes its musical structure and interpretation of the zhonghu performance, with the aim of deepening the understanding of this captivating work. Through this research, I hope to demonstrate the importance and potential of “Baijiachun” in preserving and developing Taiwanese folk music, making it a valuable reference for future studies.
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百家春, 臺灣民間音樂, 陳中申, 中胡, 北管, Baijiachun, Taiwanese folk music, Chen Chung-Sheng, Zhonghu, Beiguan