- 學位論文
「殼子絃」在台灣北管戲曲音樂之運用及其演奏呈現
The Preliminary Study on Instrumental practice of Ke-ze-xian and Its Conception of Performance in Taiwanese Bei-guan Music
摘要
「殼子絃」於臺灣民間音樂中的運用十分廣泛，且佔有相當重要的位置，尤其在北管戲曲－古路系統、歌子戲的樂隊裡，更是扮演「頭手」、引領樂隊之要職。本文以殼子絃為研究對象，就台灣各類樂種與北管音樂為研究範疇，將使用殼子絃樂器的音樂型態挑出來說明，進而以該樂器的演奏呈現方式、美學觀點、與社會間的聯結關係、教學與傳承等面向作為分析要點。 首先，以拉絃樂器的流變與殼子絃的結構作為樂器本身背景的論述，再以台灣音樂各樂種間與北管音樂中的使用情況，作一重點式的描述，歸結樂器本身的角色地位，進而推展該音樂美學的呈現；例如樂器跟樂隊間主從關係與托腔保調的對應，到演奏時音樂風格的拿捏，以呈現出「合為貴」而非一枝獨秀的加花技法與展演方式。 接著以「歌樂」與「器樂」兩方面，探討其托腔保調的功能與演奏形態、加花方式之即興表現手法，及傳統的訓練對於風格養成的重要性等，深化殼子絃在即興上的梗概。亦即，在曲腔的進行方面，對於演奏「繁、簡」之間的即興取捨；在前奏與過門等「無人聲」之樂段，作為樂器的領奏以支聲複音、加花、炫技等形式，來豐富曲腔的變化，因此可盡量的「繁」化該旋律片段；而「歌樂聲部」出現後，又應以伴奏者的身份自居，一切皆當力求「簡」化，以行托腔保調之功能。然而推衍到器樂部份，從各種即興的手法（加花、高打低低打高、慣用技法等），探討即興演奏所應遵循的方法原則與文化現象間的連結，以尋求符合「傳統」要素的北管音樂演奏。 而表演手法與訓練，理該依照本身的文化內涵進行詮釋，非以借用其他地區的文化立論而套用，其所建構的美學觀點以及學習模式，相對也應建立在本身的文化系統之上，才能充分表現真正的意涵，是筆者在文中所秉持的主要原則。
並列摘要
The application of Ke-ze-xian instrument in the folk music of Taiwan is extensive, and occupies quite an important position. It plays an important role in Bei-quan and Ketsai-hsi （Taiwanese Opera） theater for leading the movement of melody, called Thau-chhiu. This article aims at object of Ke-ze-xian studying, domain on variety of traditional Taiwanese music and Bei-quan music. Moreover, the analysis faces on some performance, aesthetics, finding the conjunction of Taiwanese society and apprentices system fields. First of all, I will make a research on the development from Xi-qin to Ke-ze-xian by the chronicle, then to address the structure and acoustic of this instrument. Secondly, discusses the use and function on this instrument in several kinds of Taiwanese music which devote the main conclusion of the role accompany with the orchestra. And then, focusing on practices in the Bei-quan music is the clear way to find an example and illustration for the skills, in order to distinguish Ke-ze-xian from play order of different music type attitudes and relation between principal and subordinate in the Bei-quan Theater. This is mainly based on comparative studies to obtain a deeper understanding of the academic and folk. In the end of the article, description of the complicated or simple choice on the presentation can be divided into non-voice and voice part. From various kinds of improvisation methods, the colors of Chinese Traditional Music, dramatic sound result of Ke-ze-xian, investigate into the link between the following play mode and culture phenomenon, to seek the rules and traditional elements in the performance of Bei-quan music.