- 學位論文
南管唱曲的當代理解—— 以〈憶著情人〉與〈燈花開透〉為例討論
A Modern Interpretation of Nanguan Singing Music – Using “Thinking of the Lover” and “All the Lanterns Are Lit up” as Examples
摘要
摘 要 一般人印象中的南管，就是咬著「牙齒根」(ka7-ge5-khi2-kun1)唱曲的音樂，這幾乎也構成一般人對南管唱曲初步認知的圖像。南管「曲腳」( khik- kioh)特有的唱曲口型，原來是曲詩構字在出口收音的基本要求，主要是有助於集腔共鳴聲響的呈現，幫助音量加大。 筆者參與南管「館頭」(kuan2-thau5)習藝十五年，因專司吹管，唱功一直未曾精練，也從未察覺南管唱曲中存在著集腔共鳴運用的技巧。直到課堂上模擬圖瓦人唱腔運用後，才終於找到自己齒舌之際的集腔共鳴。藉由構字口型的穩定，釋放出如蟬鳴般推衍的聲波，這種聲音，集中於喙口(shuì3- khau2）與舌中上方，聽來堅實延續，喉部不能抖動，與其他亞洲聲腔屢屢出現喉音顫動的風格截然不同，卻能製造出聲腔的力度與渲染力。 中國的音樂文獻中有南曲「連中求斷」的紀錄，而南管字少調緩，牽韻拖腔的唱法，獨樹一格，更具備「詞情少，聲情多」的特色，曲腳講究字頭、字腹、字尾與出口收音的運氣節奏，每個字頭捒力（sak4-lat8），，字詞間唱腔配合琵琶指法，唱腔時時中間切斷，由另起的引音再承勢插腔連綴，這種時強時弱的頓蹬力（tun3-tenn- la̍t）能突顯唱曲的勢面（se3-bin7），以製造曲韻的抑揚頓挫。 基於這種堅持，曲腳唱曲只須專注於曲詩字詞的口型與氣息的掌握，無須添加過多個人的情緒與表情，即能表現曲牌應具的聲情。重視唱腔力度的持續與唱曲勢面的營造，這是臺灣南管人基於地緣關係與民族情感，都會積極努力維護南管的聲腔特色。 「憶著情人」與「燈花開透」，曲詩字詞幾近半數以上在字頭、字腹或字尾會出現延長聲韻的集腔共鳴運用，加上強調唱曲的頓蹬力與勢面的營造，便構成南管唱曲最特殊的聲響表現。中國音樂文獻有許多古代樂人講究唱曲的文字記錄，雖多為南曲的記載，不盡適用於泉腔的南管唱法，但能增進對南管曲唱的當代理解，這是很值得分享的經驗。南管人唱曲專注凝神，聆聽自己聲腔之餘，彷彿能在其間找到生命的定位與存在，此種唱曲方式，有近似道德修為的功能，解讀藝師口述傳承的藝術堅持，體會南管唱曲所具備的道德層面功能，此為筆者習藝之外更大的收穫。 關鍵字：集腔共鳴(voice-gathering)，頓蹬力（tun3-tenn- la̍t），勢面（se3-bin7），連中求斷(continuation with pauses)
關鍵字
集腔共鳴:頓蹬力:勢面:連中求斷並列摘要
A Modern Interpretation of Nanguan Singing Music – Using “Thinking of the Lover” and “All the Lanterns Are Lit up” as Examples Abstract Generally speaking, Nanguan is considered music sung with the mouth almost completely shut, and this feature has gradually become most people’s first impression of Nanguan singing. Singers’ special shape of mouth while singing, an essential requirement for starting and ending a word, is mainly used to gather voice inside the mouth and thus enhance its volume. I have joined the musical association of Nanguan for 15 years, specializing in playing wind instruments. Singing skills have been ignored during these years, and the existence of voice- gathering skills in Nanguan was thus unknown to me. Not until learning the Tuvan voice-gathering skills in a class did I find my own voice- gathering effect between teeth and tongue. The stability of the mouth shape makes it possible to release constant sound waves like those of cicada chirping. This kind of voice effect, concentrating between the front of the mouth and the central and upper parts of the tongue, sounds strong and lasting. Though lacking the vibration of the throat and being completely different from the throat-vibrating styles used in other Asian countries, it produces sounds at a different level of strength and with great appeal. In the documents of Chinese music, there is the record about Nanqu as with“the effect of continuation with pauses.”There aren’t many words in Nanguan and its melodies are slow; the unique way of its singing, slow and prolonging, makes its feature “fewer words, more feelings” even more obvious. Singers are particular about the beginning, body, and end of a word, as well as the control over strength and rhythm while starting and ending a sound , the force used to start a word, and the coping with the playing of a Chinese lute, with music overshadowing the singing and the singing overshadowing the music from time to time. This variety of force used to produce a sound enhances the body movements of singers and creates the modulation in tone. Because of this insistence, singers need only to concentrate on controlling their mouth shape and emission of air. There is no need for much emotion and facial expressions, and the effect can be adequately acquired. Constant voice strength and the body movements of singers are the features all the Nanguan groups in Taiwan try hard to maintain. The voice-gathering skill is used in almost half of the lyrics in the two Khik’s, “Thinking of the Lover” and “All the Lanterns Are Lit up,” to lengthen the beginning, body, and end of a word. Together with the variety of force used to start and end a sound and the arrangement of singers’ body movements, these two Khik’s demonstrate Nanguan singing to its ultimate effect. There are countless documents about how ancient musicians devoted to the creation of singing music. Though they are mostly about Nanqu, probably not suitable for Nanguan singing, they are still helpful for modern people to understand Nanguan singing and therefore worth sharing. Nanguan singers sing with devotion of a devout religious believer. While listening to their own voice, they seem to be able to find their own meaning of life and existence, verify what has been recorded in Eastern and Western documents, understand the spirit of previous masters, and realize the moral function of Nanguan on top of its artistic value, which is an extra and even bigger benefit of acquiring this form of art. Key Words: voice-gathering skills, resonance, Nanguan singing, body movements（se3-bin7）, Continuation with Dispersed Separation