唸歌藝師楊秀卿之說唱藝術研究－以獲中央級藝師榮銜之傳藝教學為對象

本文研究對象為獲得中央級榮銜之唸歌藝師楊秀卿近二十年之展演與傳承，並以筆者自2012年起至今之實地調查資料為基礎進行論述。約莫三十年前在學界的發掘下，唸歌遂逐漸重現於舞臺，自2009年起，更受到政府機構重視。本文在傳唱的音樂本體與文本以楊秀卿出版品之《胡蠅蠓子大戰歌》為主體，文章架構分為三段，第一章先行論述唸歌的傳承教學與展演之現況，包含藝師與藝生之教學成效與學習情形、展演方式的變遷；第二章探究音樂本體的部分，先從歌子冊文本著手唱辭之整理，並將楊秀卿含說白之曲藝詳細記錄；第三章以楊秀卿說唱之《胡蠅蠓子大戰歌》分析其特色、詮釋手法，並另設一節撰寫楊秀卿與其藝生展演之比較。

關鍵字

楊秀卿；唸歌；胡蠅蠓子大戰歌

並列摘要

Nian-ge(唸歌) is a traditional performing art in Taiwan. The history of this art can be traced back to the 17th century when groups of Chinese immigrated from southeast China. Those immigrants brought in not only their life style but also their entertainment and music. Yang Hsiu–Ching(楊秀卿, 1934- ) is one of the most famous Nian-ge singers in Taiwan nowadays. In 2009, She was designated as a preserver of important traditional arts by the Bureau of Cultural Heritage of the Ministry of Culture. This thesis mainly presents the apprenticeship of Nian-ge from the author’s fieldwork during 2012-2015, music analysis from Yang’s singing Hoo-sin bang-a dai tsian kua(胡蠅蠓子大戰歌). The song Hoo-sin bang-a dai tsian kua is sung in 12 tunes randomly by Yang. Through fieldwork, I find that the skills of this art is hard to be passed down successfully because of the following reasons: the learning age of apprentices, the hours of practicing, the place to perform, and the preference of the audience. These reasons influence the quality of the preservation and transmission of Yang Hsiu–Ching’s Nian-ge.