南部客家八音曲牌【五大調】的傳統與移植—
以陳能濟《客家八音複協奏曲》及陳樹熙《八音協奏曲》為例

客家八音在臺灣音樂型態中，保有豐富的傳統，主要分為南部客家八音與北部客家八音，兩者各有不同的樂器編制與型態；在音樂風格方面，也與其他民間音樂的融合程度有所差異。本文研究範圍，首先圍繞在南部客家八音傳統曲牌【五大調】，即由小而美四人組編制，所組成的客家八音團體演奏的曲牌之一。然則客家八音【五大調】曲譜，配合田野錄音、影音資料及文獻整理後，再經由樂曲分析，率先探討此曲主要音樂內容的演奏特性，以期了解美濃地區特有的【五大調】，根植在客家八音團之歷史進程。由陳能濟與陳樹熙兩位作曲家，分別受委託來替傳統客家八音，進一步重新來創作及改編，故本文首先以2006年由陳能濟透過國樂團編制，所改編的《客家八音複協奏曲》來探討；緊接再以2007年由陳樹熙透過管弦樂團編制下，再次改編的《八音協奏曲》為研究對象。分析兩曲同樣藉由客家八音【五大調】，改編的大協奏曲，作為本文的研究主軸。透過樂曲探討與分析，進一步回顧作曲者如何透過改編技巧，無論是形變、融合、移植，或是拆解等，分別將兩者不同樂種放置在現今音樂舞台中？此種讓口傳的客家八音團本身，搭配寫傳的國樂團或管弦樂團之大型編制，究竟所呈現出來的音樂樣貌為何，是本文期待去進一步探究的。最後，本文試圖統整並回顧思考，兩首來自於客家八音【五大調】之改編創作，是否讓客家八音有達到推廣之效。有鑑於南部客家八音之音樂藝術及缺乏探討其相關學術研究文章的狀況，希望本文的研究，更能引出不同的客家八音相關創作，及其學術上的研究文獻，為南部地區的客家八音，貢獻出微薄的心力。

關鍵字

客家八音；【五大調】；陳能濟；陳樹熙；《八音協奏曲》；《客家八音複協奏曲》

並列摘要

In Taiwanese music culture, Hakka ba-yin music has its rich tradition. It can be classified primarily into southern and northern Hakka ba-yin, each of them contains different instrumentation and musical form from the other; and to a certain degree, their styles had been integrated with other genres in Taiwanese folk music. This dissertation focuses first on a traditional ba-yin qupai (the title of a particular tune) in southern Taiwan, called 'wu ta tiao': a delicate four-players ensemble. Through field recordings, visual and audio information, document induction, and analyzing musical notations, one could understand the history, musical content, performing character of wu ta tiao, and how it work in Hakka ba-yin music at Meinung. Composition for Chinese orchestra "Concerto Grosso for Hakka Ba-yin Music" written by Chen Ning-chi in 2006, and another composer Chen Shu-si's work for symphony orchestra "Concerto for Ba-yin Music" composed in 2007, are both based on the qupai 'wu ta tiao'. By studying these two Compositions, not only could this author realize the transcribing techniques used in the works, such as deformation, fusion, transplantation etc, but also observe how ba-yin ensemble in the oral tradition and compositions for western or Chinese orchestra in the written tradition is combined, and how music unfolds through this combination. Furthermore, do these two compositions which developed from 'wu ta tiao' in Hakka ba-yin help popularizing Hakka music, is also discussed in this research. Since academically publications about southern Hakka ba-yin musical art are not so many, this study is hoped to arise more compositions and researches for Hakka music, and make its little contribution to Hakka ba-yin music in southern Taiwan.