從台閩語唸歌看詩樂諧和的策略－以黃秋田說唱《李三娘》為例

An Analysis of the Strategies of the Harmonic Poetry and Music in Taiwan Southern Min Nian-ge: A Case Study of Huang Chiu-Tien's （黃秋田）＂Li San-Niang＂（李三娘）

駱嘉鵬(Jia-Peng Luo)

《健行學報》 34卷4期 (2014/10) Pp. 17-53

摘要

漢語是聲調語言，語言聲調與音樂曲調的諧合關係，自古以來，即受到相當的重視。近百年來，台灣的流行歌謠受到東洋、西洋樂風的影響，對於語調與樂曲的配合，普遍缺乏自覺；幸賴歌仔戲、唸歌等民俗曲藝的傳唱，仍能保留此一傳統。近二十年來，由於本土意識抬頭，亦有部分樂人關注及此，將詩樂諧合理念，融入流行歌謠的創作之中。漢語的聲調具有辨義作用，聲調的區別特徵，主要在於語音的高低升降。樂曲若破壞了語調的本質，即可能損害語感的自然，甚或造成語意的混淆。換個角度來說，音樂之美，必須依賴樂音的高低、強弱、長短來完成；平鋪直敘的語音，自然難以充分展現歌謠之美。因此，語言聲調之真與音樂曲調之美，兩者如何兼顧，自是值得探究的現實問題。本文以月球唱片公司出版、黃秋田先生說唱的台閩語唸歌《李三娘》為素材，分析說唱藝人調合語言聲調與音樂曲調的策略。全曲含助詞共計7,244個音節，透過對逐字本調、自然語調以及藝人唱調的分析，綜合統計各類語調和樂調的搭配規律，並嘗試提出合理的解釋。透過本文的統計，發現說唱歌謠詞曲調位完全諧合的比率高於八成。其餘不完全諧合的唱調，除了純為加強音樂效果的需求而忽略語調之外，大體可以歸為強化、弱化、高調互變和低調互變等四組類型。透過這些策略的運用和虛詞的輔助，即可創作出既符合自然語調又不失音樂之美的歌謠。

關鍵字

聲調 ； 唸歌 ； 詩樂諧合 ； 黃秋田 ； 李三娘

並列摘要

Chinese is a tone language, and it usually exhibits a harmonic relationship with the musical melody, which is widely discussed. Over the past century, Taiwanese popular songs have been greatly influenced by the Japanese and the Western music styles so that the public lacks of the knowledge of the harmonic relation between tone and melody. However, it is fortunate that Taiwanese operas and Nian-ge （唸歌）, namely singing and chanting songs, reserve this characteristic since recently the local artists emphasize on the connection between language and music and then apply it in their creations. It becomes a question to satisfy both the requirements of the language tone and the musical melody; the function of the tone is to distinguish meanings, whereas the song itself relies on different musical qualities, for instance pitch, loudness, or duration. As a result, it would produce semantic confusion or the melody might not be maintained if the song lacks consistency between tone and melody. The material is ＂Li San Niang＂, a singing and chanting song sung by Huang, Chiu-tien and published by Moon Records Company （月球唱片公司）. The song, including particles, contains 7,244 syllables. This paper is aimed to analyze the singer Huang Chiu-tien's strategies in dealing with the tone and the melody by observing characters' tones, tone sandhi as well as the singer's singing style, and then we provide a collocation of different kinds of the character tones and the actual singing tones. Through descriptive statistics, we found the consistency rate between character tones and actual tones is more than 80 percent. The rest of inconsistency is confirmed as the singer's strategies that are divided into four types, which are strengthening, weakening, high-tone interchanging and low-tone interchanging. With the strategies and function words, it is highly possible to be successful to create a song acquired with the nature of tone and the beauty of melody.

並列關鍵字

tone ； singing and chanting songs ； Harmonic Poetry and Music ； Huang Chiu-tien ； Li San-niang