陳珮茹畢業音樂會詮釋報告－北管鑼鼓套曲《五關》結構與詮釋分析

北管鑼鼓主要用於戲曲、牌子、或是譜的什音演奏使用。戲曲鑼鼓為烘托、渲染劇情氣氛，配合各角色的表演動作，在人物唱唸之時，鑼鼓更能配合著語調中的抑揚頓挫，來加強整個戲劇效果；牌子則是以吹搭配鑼鼓，通常用於排場，並可做為北管戲曲搬演之前奏或過場音樂，其聲響方面特為熱鬧；譜則可由原本純絲竹的演奏方式，搭上具特定節奏的鑼鼓演奏與叭子之吹奏，而成為什音。另外還有一種是以北管純鑼鼓套曲為表演形式，較具展技性質，可獨立演奏。　　本文主要以北管鑼鼓套曲《五關》為詮釋焦點。文中一開始先講述個人音樂會製作歷程，說明音樂會曲目之構想與呈現。其次簡述北管鑼鼓樂器、記譜法與基本演奏技巧，接著進入主題《五關》部分，主要是以詹文贊先生所傳授之版本，先說明樂曲的組成順序，再以領奏的小鼓手勢作演奏技法與詮釋分析，並探討張天培先生所傳《三關》與詹文贊先生所傳《五關》之相互關連，最後，加入一段自編節奏與【連環戰】做結合，提供學習鑼鼓者的另一創新思考空間。

關鍵字

北管；北管鑼鼓；《五關》；《三關》；【連環戰】

並列摘要

Beiguan luogu (percussion ensemble) is mainly used for accompanying hi-khek (opera), pai-tsi (percussion and wind ensemble music), and phoo (silk and bamboo ensemble music) played by a sip-yim ensemble. In a beiguan opera, the percussion ensemble accompanies actors/actresses’ singing and stage movements, punctuates their dialogues, and emphasizes dramatic expression. The pai-tsi is played by an instrumental group consisting of a percussion ensemble and a sona (a double-reed instrument) which produces a loud and passionate sound. It is often presented in pai-tiun (non-theatrical performances) and also played for the prelude and interludes in beiguan opera. Sip-yim is basically a silk and bamboo ensemble but adds percussion instruments and tat-a (small sona) to its ensemble. However, the percussion ensemble can be used independently to play percussion suites. The main focus of this paper is a discussion of the beiguan percussion suite wuguan. The first section of the paper describes the production of my graduation recital. After this is an introduction of beiguan percussion instruments including their basic techniques and notation. The main part of this paper is the analysis and interpretation of wuguan according to the version taught by beiguan master Zhan, Wen-zan. This part includes both a discussion of its structure and also an explanation of the techniques of the small drum which is the leading instrument of the percussion ensemble. Following this is a comparison of wuguan with sanguan. Sanguan is another percussion suite and the version used was taught by beiguan master Zhang, Tian-pei. The ending part of the paper introduces an arrangement of rhythmic patterns composed by the author and is connected to a beiguan percussion piece, lianhuanzhan. The purpose of this is to create an innovative example of beiguan percussion music to share with learners of beiguan percussion music.