台灣歌仔戲之指揮研究
| dc.contributor | 許瀞心 | zh_TW |
| dc.contributor | Apo Ching-Hsin Hsu | en_US |
| dc.contributor.author | 李訓麟 | zh_TW |
| dc.contributor.author | Baron shun-lin lee | en_US |
| dc.date.accessioned | 2019-09-06T00:57:34Z | |
| dc.date.available | 2010-1-17 | |
| dc.date.available | 2019-09-06T00:57:34Z | |
| dc.date.issued | 2007 | |
| dc.description.abstract | 從1986年大型國樂團與歌仔戲第一次正式的合作開始，兩者之間似乎總有一些問題存在，不論是期刊、專著或是論文中，也多少有所記載與論述。指揮是樂團的靈魂人物，在音樂處理、樂團培訓等方面也有一定的掌控權。歌仔戲是台灣唯一土生土長的傳統戲劇，長久以來由於口傳心授的傳承下，並不受樂譜、劇本的拘束。演員在傳統的歌仔戲舞台上，不論在唱腔、表演、舞蹈都有極大的自由發揮空間。文武場的樂師們也早已經習慣了這樣的表演方式，在表演舞台上盡情的配合。除了舞台上的演員，就屬鑼鼓佬最重要，隨時盯著演員的唱、做、唸、打，給予最高度的配合，並帶領著一班文武樂師們做藝術上最完美的呈現。但是加入了現代國樂團與指揮之後，許多表演元素因而改變了。本論文就是針對這些改變做一個系統、深入的探討。 此論文分為五章：第一章對本論文的動機、目的、研究方法、範圍做一個概略性的介紹。第二章對於原本的歌仔戲表演元素做一個探討。第三章對歌仔戲原本的指揮系統做一個探究。第四章對歌仔戲表演元素與國樂團指揮間的關係與互動做一個廣泛性的探討與研究。第五章針對歌仔戲的指揮研究後的感想做一個結論。 | zh_TW |
| dc.description.abstract | large Chinese orchestra and Taiwanese traditional opera for the first time formal cooperation perform in 1986, both seemed to be to always have some problem the existence, in spite of is a periodical, book or in the thesis, also how much of had to jot down and discussed. The conductor is the soul person of the band, handling in music, the band trains etc. also have to certainly control the power. Taiwanese traditional opera is the native traditional drama of the Taiwanese unique, for long time because spreads the heart to teach of spreading and accepting bottom, and be free from the musical score, manuscript to restrain. The actor is on the Taiwanese traditional opera stage, in spite of be singing the song and performing and dancing to all have biggest of freely exertive space. The bandsman’s also already through become accustomed to such performance method; heartily match with in performing the stage. In addition to the actor on the stage, belong to the gong and drum guy the most important, stare at the singing, doing, reading, beating of actor at any time, give the most high concert, and lead a class of text Wu, the bandsman’s do the art to up most perfectly present. But joined the modern Chinese music regiment and after directing, many performance elements as a result change. This thesis to these changes does a system, thorough study. This thesis is divided into five: Chapter 1 is to the motive, purpose of this thesis, study the method, scope to do an outline introduction. Chapter 2 performs the element to the original Taiwanese opera to do a study. Chapter 3 does an investigation to the originally commanding system of the Taiwanese opera. A relation and interaction that performs the element and the Chinese music regiment to the Taiwanese opera to direct does an extensively sexual study and the research. Chapter 5 aims at the commanding research of the Taiwanese opera behind of the feeling does a conclusion. | en_US |
| dc.description.sponsorship | 音樂學系 | zh_TW |
| dc.identifier | GN0094613109 | |
| dc.identifier.uri | http://etds.lib.ntnu.edu.tw/cgi-bin/gs32/gsweb.cgi?o=dstdcdr&s=id=%22GN0094613109%22.&%22.id.& | |
| dc.identifier.uri | http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/108361 | |
| dc.language | 中文 | |
| dc.subject | 歌仔戲 | zh_TW |
| dc.subject | 指揮 | zh_TW |
| dc.subject | 鑼鼓經 | zh_TW |
| dc.subject | 鑼鼓佬 | zh_TW |
| dc.subject | 文武場 | zh_TW |
| dc.subject | 國樂團 | zh_TW |
| dc.subject | Taiwanese traditional opera | en_US |
| dc.subject | conductor | en_US |
| dc.subject | chinese music | en_US |
| dc.subject | Chinese orchestra | en_US |
| dc.title | 台灣歌仔戲之指揮研究 | zh_TW |
| dc.title | The research of the Taiwanese opera conductor | en_US |