當日語歌化身為台語歌—文夏翻唱歌曲詞曲配合的探討

The Texual and Melodic Arrangement in Wen-hsia’s Taiwanese Cover Songs

張瑋芩(Wei-chin Chang)

指導教授 ： 王櫻芬

國立臺灣大學/文學院/音樂學研究所/碩士(2011年)

https://doi.org/10.6342/NTU.2011.00350

摘要

一般對1950、60年代翻唱歌曲的研究，經常著重在政治、經濟和社會部份的討論，使得翻唱歌曲經常被固定在某一個位置上無法動彈；關於「歌曲」中不可或缺的音樂部份則少有相關討論，目前只有廖純瑩與商慧珍兩位的研究。本研究的出發點在於粗略的聆聽經驗中，翻唱台語歌有著很像原曲卻又有說不上來的不同感。那種隱隱約約兩者的緊密牽絆，使人對當時音樂文化的運作感到好奇，也不禁揣思翻唱現象對於往後台語歌的影響。
　　因此，本研究以頗具代表性的文夏翻唱歌曲為例，從結構以及聲響兩個角度出發，觀看歌詞位置、內容、讀音與旋律的嵌合關係。以比對分析43組翻唱歌曲與日本原曲的方式，呈現出翻唱歌曲在詞曲配合上的混雜現象。而其難以用單一現象來定義的豐富多樣性，彰顯出音樂工作者、尤其是填詞者的主動性與選擇權。這個初步研究，希望能與以往對翻唱台語歌的既定觀點有所對話並補其不足；同時提出可繼續深入探究的議題。

關鍵字

台語歌 ； 翻唱歌曲 ； 日本曲台語歌 ； 詞曲配合 ； 文夏

並列摘要

Past studies on 1950-60s Taiwanese cover songs usually focused on the political, economical or social aspects, and the musical aspects were rarely talked about. This study began on cursory listening experiences: how Taiwanese cover songs are similar to the original songs but also differ from them? This phenomenon may be intertwined with the musical activities at that time, and may also have affected the form of Taiwanese songs from then on.
In this thesis I focus on Wen-hsia’s songs, which are representative of Taiwanese cover songs in 1950-60s. I compare them with the original songs, including the positions, contents and sound of the texts, and the relationship between them and the melodies, and try to present the hybrid phenomenon of texts and melodies in Taiwanese cover songs. The fact that this phenomenon cannot be fixed on a single definition, but is rich and diverse, manifests the subjectivity of the music workers and their choice, especially that of the lyricists focused on in this thesis.

並列關鍵字

Taiwanese songs ； cover songs ； texual and melodic ； lyrics and melody

參考文獻

2004　《台中電影傳奇：台中市百年來的電影風華》。台中：台中市政府。

2008　〈從三種演歌來看重層殖民下的台灣圖像──重組「類似」凸顯「差異」再創自我〉。《台灣史研究》，15：79-133。

2005　“In Defense of Cover Songs,” Popular Music and Society. 28:171-177.

Cusic, Don

2008　“Feeling a Shared History through Song ‘A Flower in the Rainy Night’ as a Key Cultural Symbol in Taiwan,” The Drama Review 52:64-81.