黃俊利畢業音樂會詮釋報告─以「四子曲」論南管曲唱與二絃演奏法

Interpretation Report of Graduate Concert by Huang,Chun-Li:Singing Style of Qu and Performing Practice of Erxian in “Sihzihqu” of Nanguan.

黃俊利(Chun-Li Huang)

指導教授 ： 林珀姬

國立臺北藝術大學/音樂學院展演書面報告/傳統音樂學系碩士班演奏組/碩士(2012年)

https://doi.org/10.6835/TNUA.2012.00021

摘要

本文主要以黃俊利畢業音樂會之「四子曲」表演為例，說明筆者自浸淫南管音樂以來，曾聽及南管前輩們提過「四子」之名稱。因此，在攻讀碩士期間對此稱呼就特別注意，想一窺「四子」之全貌，故以「四子曲」為畢業音樂會之主題。
早年在台南南聲社的學習中，蘇榮發老師讓筆者以二絃作為初學的入門樂器，這與一般在學習南管樂器由琵琶入門，頗為不同。長久以來，二絃已成為個人最為擅長的樂器，因此，本文分析完四子曲之後，將一併地探討二絃演奏法。
本論文的篇章架構將以「四子曲」為核心做發展，第一章為「音樂會的設計」，說明音樂會的發想，以及協演人員與曲目的編制等；第二章「四子曲之探討」，將先從文獻上做梳理，再介紹本次音樂會中的四子曲曲目之文學背景；第三章的「樂曲分析」，則試從音樂內涵的角度去分析；第四章為「演奏詮釋」，欲論述筆者如何以人聲演唱、洞簫詮釋；第五章為「四子曲之煞譜分析──以二絃演奏論之」，除了是交待本次音樂會的煞譜《八駿馬》，更欲借彰顯二絃技法的《八駿馬》，歸結出南管二絃運弓的基本法則，透過前輩們的口述將《八駿馬》之特殊技巧記錄下來，且與南管演奏家王心心演奏《八駿馬》之弓法相互比較。

關鍵字

四子、四子曲、南管、二絃、八駿馬

並列摘要

The main content of this thesis is the interpretation of the performance of “Sihzihqu”（四子曲） in Huang, Chun-Li’s graduate concert. During the time that the author immersed in Nanguan music, had he heard the term 'Sihzih'（四子） mentioned by the Nanguan seniors, therefore, during the master years, he particularly paid attention to this term and wanted to view the full extent of it, so "Sihzihqu" is used as the theme of the graduate concert.
　　When learning Nanguan at his early age in Tainan Nanshengshe（台南南聲社）(name of a Nanguan club in Tainan, Taiwan), Su, Jung-fa started teaching the author with the instrument Erxian（二絃）(a kind of string instrument like Erhu), which is different from most of the people,who begin with Pipa. As a result, Erxian had become the instrument which the author plays the best. Thus, after analysing “Sihzihqu”, the performing practice of Erxian would also be discussed in this thesis.
　　The structure of this dissertation is based on and developed from the subject “Sihzihqu”. The first chapter is ‘The Framing of The Concert’, describing the concept of the concert, guest musicians and lay out of the repertory. The second chapter ‘A Study on “Sihzihqu”’: starting with literature review and then introducing the contexts of the “Sihzihqu” repertoires performed in this concert. The third chapter is ‘Musical Analysis’. The fourth chapter ‘Performing Interpretation’, explaining how the author interpret the pieces with his singing and Dongxiao(a kind of vertical bamboo flute) playing. The last chapter ‘Analysis of ‘Shapu’ in “sihzihqu” with The Aspect of Erxian playing’, not only introduces the ‘Shapu’(the instrumental piece used to end a Nanguan concert) “Bachunma”（八駿馬）, but also summarizes the basic principals of Erxian bowing techniques in the piece “Bachunma” which emphasized on the Erxian part. The performing practice of this piece is literally recorded by consulting the dictations of seniors, moreover, the author compared the bowing technique used by himself with Nanguan performer Wang, Xin-xin.

並列關鍵字

Sihzih、Sihzihqu、Nanguan、Erxian、Bachunma

參考文獻

2007〈南管音樂門頭探索（二）－從知見曲目探索明刊本帶有【相思】門頭曲目〉《關渡音樂學刊》第七期，國立臺北藝術大學音樂學院。頁1 -45。

2007〈論南管整絃的樂儀──排門頭與樂不斷聲〉《文資學報》第3期。頁95-121。

論著(依年代先後）

中國戲曲研究院編

1959《中國古典戲曲論著集成》共十冊，1980年7月二版，中國戲劇出版社。