唱片樂音的隔代傳承與音樂傳統的認知建構—從桃園林祺振、謝旺龍等八音樂師的學習與表演經歷談起

Cross-generational Transmission through Sounds in Record Albums and the Construction of the Understanding of Musical Traditions: Based on the Learning and Performing Experiences of Lin Chi-Chen, Shieh Wang-Lung, and other Bayin Performers in Taoyuan

林曉英(Hsiao-Ying Lin)

《臺灣音樂研究》 6期 (2008/04) Pp. 167-198

https://doi.org/10.29785/FJMR.200804.0006

摘要

客家八音技藝的世代傳承，一向由擁有該項技藝傑出表演能力與知識涵養的樂師擔負。師徒傳承過程中，往往結合書面曲譜與口傳心授的親炙指導，這是過去最倚重的教學方式。然而，十九世紀末、二十世紀初，從留聲機的發明，到有聲音樂出版品的普及以來，隨著錄音設備與複製生產技術的文化工業發展腳步，台灣社會在這一世紀受到的歷史影響，不僅涉及了音樂文化在生態風貌上的若干改變並且局部地改變了傳統音樂技藝傳承的部分模式。當樂音聲響被記錄，並透過機器而可重複播放、一再聆聽，學習者可藉之不斷地揣摩樂音旋律與詮釋方式；這項重現音樂技藝的新興載體，打破了以往傳承學習過程裡最被看重、倚賴的「師傳徒」模式的若干特徵。因而也使得部分從業藝師在面對錄音演出以及有聲出版等現象與其效應時，發展出愛懼交織的態度。筆者即從此一現象作為思考立論的出發，藉由參與桃園縣文化局「林祺振、謝旺龍與和成八音團調查研究暨有聲專書出版計畫」等相關經驗，尤其相當程度借重林祺振、謝旺龍與八德「和成八音團」幾位表演者的學習模式和充實自我之經歷，作為本文討論說明之例，並展開相關議題的思考與探究。各節之下，分別以「錄音．唱片．記錄」、「再現．複製．延續」、「師傳．承繼．符碼」、「目錄．編碼．標目」為討論標題，以組串筆者對「唱片樂音的隔代傳承與音樂傳統的認知建構」之相關思考與歷史關懷。從遞傳的、層疊的概念來理解文化與歷史，後人所見聞、被呈現出來的結果，往往是集體意志之集合體的綜合表現，而不同的組構要素的存在，以及其間的勾連關係，即表現出一種互為補充、互為結構的關係。反思唱片工業的涉入，以及其與表演者之間的交流互動、交相指涉，誠如每個時代裡，不同的、新加入的變數的參與，或許的確為原生文化圈帶來了莫大的衝擊，不妨將之視為是示現了該文化圈之社會網絡彼此間規模不一的結構性衝突，從中反而見證了藝術文化在歷史洪流裡，得以繼續前行的姿態與時代精神。而每個時代所謂的音樂傳統的認知建構，也隨著時代的變遷，而續以嶄新的樣貌示人。

關鍵字

客家八音 ； 林祺振 ； 謝旺龍 ； 和成八音團

並列摘要

After the invention of phonographs, the publication of sound recordings became popular during the end of 19th century and the beginning of 20th century. The development and improvement of modem recording technology and mass production of audio products had not only reshaped the environment of Taiwan traditional musical culture, but also partially change d the mode of transmission of the musical art.In this essay, I will observe the relationship between ”cross-generational transmission through sound recordings” and ”the constructed understanding of musical traditions”. The paper consists of four sections: ”sound recordings, records, documentation”, ”representation, duplication, continuation”, ” tutorship, inheritance, symbol” , ”catalogue, coding, category” . Through these topics, I hop e to show my following contemplation on history. If culture and history are viewed from the perspective of transmission and accumulation, then what one sees is often a synthesis of the collective efforts from the his/her forerunners, and the elements involved and their inter -relationship are mutually complementary. Just as tensions usually arise when new factors appear in new eras, the launching of music record industry and its interaction with the performers also brought considerable impact to the traditional culture. However, such tensions can be viewed as the structural conflicts and struggles of culture social network, and, despite these tensions, it is fortunate that we and the following generations are continually witnessing the art marching on in its own way and making its marks in the great torrent s of history. Meanwhile, as time changes, the constructed understanding of musical traditions in each era also keeps showing its new appearances.

並列關鍵字

Hakka Bayin ； Lin Chi-Chen ； Shieh Wang-Lung ； He-Cheng Bayin Band