- 學位論文
林蕙芸北管畢業音樂會詮釋報告─北管新路戲曲〈新雷神洞〉之分析
The Interpretation Report of Lin, Hui-Yun Graduate Concert─The Analysis of Xinleishendong of Beiguan New Style Theater Music
摘要
本詮釋報告以「林蕙芸北管畢業音樂會」中演出之經典北管新路戲曲〈新雷神洞〉為探討主題。全文自本事探討與版本比較開始，進而研究師承於林水金先生之〈新雷神洞〉。在文本總講的比對部份，以《清蒙古車王府藏曲本》、北管藝師葉美景及林水金兩位資深北管曲館先生所傳總講、及出版品《梨花院落子弟絃歌彰化梨春園歷史錄音》所收錄手抄總講，進行比對說明。林水金先生所傳〈新雷神洞〉一齣，以【二逢】、【西皮】為主要唱腔，搭配【刀子】、【疊板】與【花腔】之旋律，全齣唱腔變化多樣而特別。本文於第二章與第三章，試圖透過文字闡述，將林水金先生所傳〈新雷神洞〉版本之唱腔曲韻與唱唸咬字處理、排場鑼鼓等，加以分析說明與進行個別詮釋。
並列摘要
This paper focuses on the interpretation of Xinleishendong presented at “Lin Hui-yun Graduate Concert”. The Xinleishendong is one of classical plays in beiguan new style theatre music. The script of Xinleishendong used at the concert was passed down by beiguan master Lin Sui-chin (hereinafter Lin’s version). This paper begins with story research and scripts comparison of Xinleishendong, followed by interpretation and discussion on the version which the author learned from master Lin Sui-chin. On the comparison of the text of this play, the author compared four versions of scripts: Qing Menggu Chewangfu Changquben, the script collected in the Lihuayuanluozidi Xiange Chang-hua Lichunyuan Lishiluyin, and the scripts of beiguan master Yeh Mei-ching’s version and Lin’s version. Among the four versions of scripts, Lin’s version primarily utilize beiguan melodic patterns of jī-hông and se-phî, along with other beiguan melodic patterns of to-tsú, tiap-pán, and hue-khang (hue-khiang). The setting of melodic patterns displays colorful beiguan music in its characteristic appearance. Chapters two and three analyze and discuss the characteristics of melodic patterns, vocal projection, setting of percussion ensemble music, and interpretation of master Lin’s version in detail.