傳統音樂的數位保存：歌仔戲藝師林竹岸拉弦風格之研究與影音記錄

臺灣歌仔戲發展至今百餘年，年屆85歲的林竹岸先生參與其中70年，為當代極少數僅存的歌仔戲老藝師，其經歷了老歌仔、外臺歌仔戲、內臺歌仔戲、廣播歌仔戲、電影歌仔戲、電視歌仔戲、劇場歌仔戲時期，見證了臺灣歌仔戲的歷史發展與興衰。有鑑於傳統歌仔戲音樂的早期風格漸漸式微，隨著藝人的凋零，藝人們的演奏手法未能被保存下來的憾事不斷地發生，再再提醒著我們文化保存的重要性。為免於斯，筆者以保存林竹岸先生的音樂風格為目標，對於其技藝進行正式錄音、錄影、採譜，並剪輯出利於後人學習、研究的檔案，探討如何以音樂學之研究方式與數位錄音錄影技術，達到完整保存其音樂風格之目的。本文共分為五章：第一章簡述相關文獻並說明研究方法；第二章分析林竹岸的歌仔戲音樂特色，闡述其習藝背景、演奏技巧以及音樂風格；第三章探討歌仔戲後場音像記錄的歷史背景與發展；第四章探討筆者所發展之「複錄影音保存法」的理念、做法及成效；第五章對於保存林竹岸先生之音樂風格，做一總結性之說明。希望藉此系統性的探討，提供未來的研究者與演奏者學術與實務上的參考。

關鍵字

林竹岸；歌仔戲後場音樂；民權歌劇團；數位保存；複錄影音保存法

並列摘要

Gezaixi (Taiwanese opera) has developed for more than one hundred years. Lin Zhu-An, one of the few old artists in modern era, has gone through 70 years of the development. From “old gezai” in the street to gezaixi at the theater, Lin Zhu-An has been on various kinds of stage. During Lin’s career, he has witnessed the historic development, the heyday, and the decline of gezaixi. Alongside the decline of gezaixi, many traditional styles in master musicians’ performance failed to be succeeded or be learnt by the new generation. To prevent from the disappearance of gezaixi tradition, Taiwan government has put more emphasis on the preservation of master musicians’ styles. A response to recent vogue of heritage preservation, this project aims to document and study Lin Zhu-An’s style of performance with a hope to make the documented data as sources for future learning. In addition, it proposes the so-called “Audio- visual Overlay Approach” with a goal to provide a new model of digital preservation for future practitioners. This essay is divided into five chapters. The first chapter describes the research motivation, purposes, and questions of this project, and it discusses the methods used for solving the questions. The second chapter delineates the history and development of the background chamber music for gezaixi. The third chapter writes about Lin Zhu-An’s specialty and his performance practices of gezaixi. The fourth chapter explains the concepts and practices of the Audio-visual Overlay Approach. Last but not the least, the conclusion chapter summarizes the major findings of this project and addresses the significance of digital preservation for the continuation of music traditions.