趙咏山《黑頭與花旦》中京劇角色與京胡演奏法運用之探討

趙咏山所作的《黑頭與花旦》二胡獨奏曲素材來源起於京劇音樂，整首樂曲有著明顯的京劇風格，其中也不乏耳熟能詳的京劇片段《霸王別姬》，這引發了筆者對於此樂曲研究的興趣，希望透過此研究盡可能找到作曲者創作素材的來源，並配合京胡與二胡的比較，使樂曲在詮釋時能夠更具風味，找到京劇元素與二胡演奏法的最佳融合。本詮釋報告以四個面向進行文獻分析，分別為：《黑頭與花旦》相關研究內容、京胡演奏法之相關文獻、劇目角色之相關文獻、相關訪談紀錄。筆者以高淳怡所撰寫的論文為基礎，加入京劇演員、京胡樂師、二胡演奏家的觀點進行樂曲分析，探討劇中出現的角色性格與京胡演奏技法，並提出個人對於此樂曲的見解與演奏詮釋，以完成研究。經過深入研究後，筆者找到《黑頭與花旦》作曲者可能引用之劇目唱段，並對其進行人物性格分析與行當演唱方式分析。接著筆者分析了京胡演奏技法，並比較與二胡之異同。最後筆者從「京胡特點之應用、角色形像之掌握、戲劇張力之表現」三方面切入，並以演奏者的角度重新分析與詮釋樂曲，掌握京劇唱段與京胡伴奏，使整首樂曲依附在京劇的大框架下進行演奏，凸顯樂曲中的京劇元素，並使樂曲展現京劇風格。

關鍵字

趙咏山；黑頭與花旦；京劇音樂；二胡；京胡

並列摘要

ZhaoYongshan’serhu solo composition HeitouyuHuadan was inspired by Beijing opera’s music, as well as music sections from Farewell My Concubine. I seek toexamine the origins of the music material of this composition. This thesis attempts to compare erhu and jinghu. This study will be divided into four parts to review and analyze the composition. First, I will review the literature of HeitouyuHuadan; second, I present the performance practices of jinghu; third, I consider the opera characters and results from the interviews conducted; and finally, drawing on Chun-yi Kao’s thesis, I analyze the opera characters, musicians, and erhu performance to offer a better understanding of the performance practice for jinghu. This research reveals the composition’s original music anddiscusses the opera characters and their singing style. I further analyze the similarities and diffferences of the performace practice between jinghu and erhu. My study concludes by highlighting the characteristics of jinghu, role image, and the dynamics of the drama to demonstrate how the composition presents idea from the Beijing opera and its music style.