本論文以林子淵客家創作歌謠為研究對象,以林子淵於1988-1993年間所完成的客家創作歌謠為研究範圍。林子淵自1988年開始投入客家歌謠創作,五年間共創作75首作品,筆者按歌謠類型,將林子淵客家創作歌謠分成通俗歌曲與童謠兩類作研究。 第一章緒論探討寫作本文之研究動機與目的、研究方法與步驟、研究範圍與限制,並經由文獻探討探究客家創作歌謠相關論文,以及將客家創作歌謠作一概述;第二章介紹林子淵生平,透過訪談其親友與合作夥伴,分兩個時期描述,另蒐集林子淵作品唱片公司所出版之歌譜、專輯等資料,分類呈現其作品與出版品,統整歸納其作品總數;第三章與第四章,分析林子淵客家創作歌謠通俗歌曲與童謠,將其分成詞曲創作與曲調創作兩類,從中選出28首代表性作品作曲調形式(包含譜例、資料說明、曲調分析等)、歌詞形式(包含歌詞大意與註解、類型、句式與押韻等)與歌詞聲韻處理之分析,並藉由客家傳統小調與傳統童謠與林子淵所作歌曲作聲韻處理分析之比較;第五章將本文前四章作統整歸納與比較,並說明林子淵客家創作歌謠時代意義,以及筆者對客家歌謠發展與流傳所提出部份建議。 本論文透過實地調查、資料蒐集、文獻探討,以分析、歸納、比較、研究等方法完成,期盼透過各項資料之整理、分析,讓大眾對林子淵及其客家創作歌謠有更深入的聊解,並對保存客家文化能盡一份心力。
The research object of the essay is Lin Zi-Yuan’s Hakka composed songs during 1988-1993. Lin started to compose Hakka songs from 1988, and he composed seventy-five pieces in all within five years. According to the types of the songs, the writer divides Lin’s composed songs into two categories: popular songs and nursery rhymes. Chapter one “introduction” tells the motivation, method and steps, and the range as well as the limit of the essay, and also explores related essays on Hakka composed songs through looking into materials, and briefly tells the Hakka composed songs as well; chapter two introduces Lin’s living background, which is divided into two periods through interviewing his relatives, friends, and partners, and collects information such as singing scores and albums published by the CD company of Lin’s pieces, which shows his works and publications through their types, and and which generalizes a conclusion of his amount of works; chapter three and four analyze Lin’s Hakka composed popular songs and nursery rhymes, and classify them into two types: lyric-song composition and melody composition, and chose twenty-eight significant pieces to analyze their melodic form (including score examples, explanations of materials, analysis of the melody, and so forth), lyrical form (including lyrical gist, kinds, sentence patterns, rhymes, and the like), and the management of the intonation, and analyze this kind of management in Hakka traditional minor ballads with Lin’s by comparison; chapter five summarizes and compares the previous four chapters, and explains the time meaning in Lin’s Hakka composed songs, and the writer gives some advice on the development and circulation of Hakka songs. The essay is finished through on-the-spot investigation, collection of materials, and discussion of bibliography, and is finished by means of analysis, induction, comparison, research, and such like, in the hope that through every arrangement and analysis of the materials, the public will have a deeper understating of Tzu-Yuan Lin and his Hakka composed songs, and will make an effort to preserve the Hakka culture.