彰員鹿軒團北管唱片研究

本研究以1933年彰員鹿軒團赴東京為古倫美亞錄製的北管唱片為研究對象。彰員鹿軒團是由當時彰化、員林、鹿港的知名子弟先生所組成，本文整理與彰員鹿軒團成員相關的口述歷史，搭配田野調查，重建彰員鹿軒團成員歷史與組織關係。其組織是以鹿港玉如意為班底、許嘉鼎為首腦，成員具有京劇先生、藝旦曲師、錄音樂師等多重身份。彰員鹿軒團所發行的北管唱片數量、音樂類型，是日治時期北管唱片中最豐富者，是以，此批唱片不僅是最早由北管樂人分類北管音樂類型的文本，其完整性也使古倫美亞日後不需再聘請子弟曲館錄製北管唱片。為了了解唱詞內容，本文以彰化軒派兩大曲館──鹿港玉如意、彰化集樂軒抄本進行比對，分析其唱詞的版本選擇與唱段擷取方式。從唱詞版本選擇可見其所唱內容是早期軒派抄本的融合，從較晚期的抄本比較也可見其對後代的影響力。唱段擷取的方式，在非戲曲（牌子、幼曲、弦譜）的部分多為將曲牌的全部內容或從頭整段錄製，戲曲類多以擷取中間整段或跳段銜接的方式錄製，但整體唱段選擇的考量仍是以涵蓋北管多元唱腔為主，且各類型音樂的樂器有其使用規範。音樂分析的部分，為能回到彰員鹿軒團北管音樂的歷史脈絡，本文將彰員鹿軒團歷史錄音帶回給其成員後輩聆聽，並以資深北管藝師的評價做為本文音樂分析的基礎。從演唱音高、伴奏鋪陳、音色轉變等面向，討論彰員鹿軒團的唱奏能力；從音樂結構、速度變化、失誤反應等面向，討論因應唱片時間限制所做的音樂改變。最後針對白字戲《賣蕃薯》的戲文、曲調分析，提出以閩南語為戲語、北管為唱腔的白字戲案例。

關鍵字

古倫美亞；彰員鹿軒團；北管；唱片產製；白字戲

並列摘要

This thesis rediscovers the beiguan music scene and its involvement in the recording industry in colonial Taiwan by focusing on the 1933 beiguan records of Chang Yuan Lu Xuan Group (hereafter “the Group”), recorded in Tokyo and produced by Columbia Records. In the first part of my research, I conducted fieldwork and oral history research to reconstruct the organizational history of the Group, which consisted of renowned masters and musicians from amateur clubs in Changhua, Yuanlin, and Lukang. Among them, Xu Jia-Ding was the leading figure, with musicians from Lukang Yuruyi comprising the majority of the Group; members' various professions included Beijing opera teachers, geisha teachers and professional performing musicians. Other than the Group’s notable cast, the 1933 records are worthy of investigation not only because they constituted the most abundant collection of beiguan records throughout the Japanese colonial era, but also because they covered the diverse beiguan subgenres comprehensively – in fact, these records could be seen as the earliest text that exhibited beiguan musicians’ own concepts of sub-generic classification. In my investigation of the 1933 records, I analyzed how the lyrics and musical phrases were selected, extracted, and modified for recording purposes. To conduct such analyses, I compared the lyrical content of these records with the manuscripts of two leading Xuan-school music clubs, i.e. Yuruyi in Lukang and Jile Xuan in Changhua. My findings suggest that the lyrical content was merged from early versions of Xuan-school manuscripts. Besides, based on my examination of how phrases were selected, I conclude that the arrangement of these records intended to cover the diverse tunes of beiguan music. Specifically, in non-operatic instances (i.e. paizi, youqu, xianpu), melodic tunes were recorded either entirely, or from the beginning of a song until the end of a section; whereas operatic recordings were mostly sections selected from the middle of songs, or realignment of originally unconnected sections. The overall guiding principle was to ensure that the diverse tunes of beiguan music be covered and represented comprehensively. To contextualize the 1933 beiguan music records, my research incorporated fieldwork and oral history to reconstruct the relationships between group members. In addition, during my interviews with contemporary professional beiguan musicians and descendants of the Group's members, I engaged them to join me in listening to the 1933 records. Through these listening activities, I have been able to collect my interviewees' insights and assessments of the music, based on which I conduct my musical analysis of these records. I examine the Group's capabilities of singing and accompaniment, and discuss how they adapted the songs in response to the time limit of 78-rpm records. Lastly, I discuss an intriguing and noteworthy record from the 1933 collection - Mai Fan Shu, a baizi opera that featured beiguan tunes (instead of the then-supposed nanguan tunes).