郭芝苑歌樂的民俗風格

郭芝苑（1921出生）是台灣最具代表性的前輩作曲家之一，其創作類型多元，從大型管絃樂曲、器樂獨奏曲、歌劇到獨唱曲、合唱曲等，是個全方位的作曲家。特別是他的歌樂作品，有深刻的藝術歌曲、嘔盡心血的歌劇，有受委託而作的舞台劇／電影主題曲，也有配合時代需求的流行歌、愛國歌曲，和充滿懷舊的民謠編曲等。他從小浸淫在民間音樂氛圍，歌樂中自然地流露出人親土親的鄉土性。本文主要探討郭芝苑歌樂中充滿鄉土性的民俗風格。二十世紀的台灣，民間音樂（從民歌、說唱、南管、北管到小戲、大戲等）從興盛到逐漸沒落，如今已弱如游絲。但是在郭芝苑的歌曲中，卻還能處處體會到反映先民音樂文化的氣息，郭芝苑的歌樂中，有一部份是選取還在民間傳唱的民歌，編為獨唱曲或合唱曲；除此之外，亦採了許多旋律已不可考的民謠（或唸謠）曲詞，重新創作，他將前後者分類為「台灣民謠編作」、「台灣民謠　採詞．作曲」。他為這些充滿鄉土趣味的詞譜曲，例如〈嫁何位〉、〈鯽仔魚娶某〉、〈一個姓布〉、〈嬰仔睏〉，賦予了「遺失旋律」的民謠重新展現音樂的生命力。他的藝術歌曲，除了少部分為了參選，用指定歌詞如〈家園好〉、〈青年報國歌〉、〈國花頌〉、〈鄉愁四韻〉等以及古詩詞譜曲外，大多選擇台灣詩人的詩詞，或和台灣歷史、鄉土相關的內容。不管是藝術歌曲或民謠編作、通俗歌曲，郭芝苑的歌樂總是透露出濃厚的民俗風格，例如：他為古詩詞或當代漢詩作的藝術歌曲隱約透露著的〈吟詩調〉遺風；活潑俏皮的歌曲中呈現歌仔戲〈雜唸仔〉的唸唱手法，或是車鼓戲中男女對唱風情；而交加戲（即高甲戲）優雅迷人的曲風亦不時重現在他的抒情曲中。

關鍵字

無資料

並列摘要

Kuo Chih Yuan (b. 1921) is one of the most representative and productive composers in Taiwan, whose compositions are in various types of genre including orchestral music, solo instrumental music, operas, solo songs, and chorus music, etc. Since it is noteworthy in his vocal music with abundant elements of nostagic folklore such as in his art songs, operas, incidental music, and all the others, the aim of this essay would focus on such a folkloristic and traditional idiom in his vocal composition. Although there have been the majority in Taiwan who can hardly appreciate the traditional music at all for the present of time, Kuo's vocal works with the efficient usage of traditional art and literature of Taiwan are still able to reflect the pure essence of his ancestral art. In addtion, Kuo had contributed in reviving extensive folksongs whose lyrics or melodies have already been lost and untraceable, and so he proclaimed some of his works ”to be 'rearranged by' or 'composed to an adaptation of' a Taiwanese folk song”. Accordingly, he has vitalized his music through these traditional ”lyric-lost” or ”melody-lost” Taiwanese folk songs and filled his compositions with geniality, graciousness and glamour.