台語歌曲之語言聲調與曲調的關係研究－以蕭泰然創作《出外人》與《上美的花》二首歌曲為例

台語泛指台灣普遍的閩南語，然閩南語共有八個聲調，因此台語本身具有豐富的字、詞、與辭句的聲調變化，同時它也是曲調的基礎性向；就語言而言，它是歌曲之載體，是歌唱藝術內容之基礎與核心所在。作曲家除了依照自己創作理念外，必須注意語言聲調的變化，使演唱家在詮釋歌曲特質內涵外，容易地掌握歌詞聲韻與曲調的高低變化，讓聽眾懂得歌詞的意義，進而引領進入歌曲中之「真、善、美」園地。本文首先從台語語言特質中的音韻結構與聲調變化法則來探討，接著從台語歌曲簡史來了解台語創作歌曲的時代文化特質，最後以蕭泰然二首台語歌曲為例，來分析台語語言聲調與曲調的關係。本文研究企圖在結論中建議與歸納出作曲家創作台語歌曲，可依循之「台語語文中聲調的規律邏輯變化」；演唱家在詮釋歌曲時，不僅要掌握基本發聲法外，還要注意「語言行腔的音韻變化」，讓欣賞者進入音樂審美的最高藝術殿堂。

關鍵字

台語語言聲調；蕭泰然；出外人；上美的花

並列摘要

Taiwanese language is indicated generally as a vernacular language in Taiwan derived from several of the southern dialects of Fujian Province in Mainland China. Speaking of common pronunciation of the language, this dialect includes eight different intonations. The language contents itself with abundant words, slang, and diverse intonation changes that not only form, but also direct the nature of the tune in Taiwanese songs. Therefore, it is one of the main parts of Taiwanese songs and the core base in the singing art of performing Taiwanese songs. Thus, composers have to be aware of the differences in the intonations other than focus on theirs creative ideals only. This concern helps singers not only to interpret song texts better but also to articulate the intonation of texts easily with controlling the various pitch changes of tune. It will help audiences to be able to understand the deep meaning of the texts, and they will be led into a beautiful image from the songs as well. This research will begin with discussing the phonetic structure and the changing rules of intonation through demonstrating the linguistic characteristics of the Taiwanese language. A brief historical introduction of Taiwanese songs will be also presented in this essay, for a better comprehending of the culture background as they were composed. Then, two of Taiwanese songs composed by Tyzen Hsiao will be used as the examples to analyze and to demonstrate the relationship between the intonation of the texts and the tune of the songs. In the conclusion, the author of this research will intentionally suggest and generalize a logical and regular pattern of intonation changes with in the Taiwanese language as a phonetic rule to help the composers who write Taiwanese songs in the future. By following this rule, a performer, the interpreter of a Taiwanese song, should not only be able to master the basic phonetics of the language, but also be able to present the intonation changes smoothly as he or she flows the text. As an anticipant result, the performer will lead his or her audiences into a path of musical appreciation hearing the beauty of a great art and into a door seeing the temple of the highest art.