透過您的圖書館登入
IP:44.193.77.196
  • 學位論文

臺灣皮影戲音樂及其源流研究

A Study on the Music and the Origin of the Shadow Play in Taiwan

指導教授 : 呂錘寬
若您是本文的作者,可授權文章由華藝線上圖書館中協助推廣。

摘要


皮影戲於臺灣累積將近二百年的發展歷史,其戲團的分佈卻是十分囿限。民戲的展演日趨減少,現存四個戲團主要仰賴文化場的展演存在著。本文的研究方法有二,一以文獻為基礎的歷史研究法,建立在戲團的手抄本與前人的相關研究基礎上。二為田野調查法,建立在筆者對於民戲與文化場的展演觀察、以及藝人的訪談。礙於有限的展演活動,展演觀察是無法了解皮影戲音樂的全貌,而訪談也僅限於現存的藝人,因此本文還得仰賴計畫案的影音資料。 本文以唱腔與後場樂為切入點,分別論述臺灣皮影戲音樂的歌樂與器樂部分。唱腔部分,一為建立皮影戲唱腔的完整曲目,並且釐清其曲目的組成與來源。二為提出聲辭拖腔與作腔乃唱腔詮釋的特色,「聲辭運用」顯見於皮影戲唱腔的固有曲目中,唱腔中不但大量運用聲辭,更以此做句末拖腔,且以旋律起伏作腔,可見聲辭運用於唱腔的重要性。三為論述藝人的演唱技藝,藝人以「聞聽」為主要的技藝養成途徑,其演唱技藝方可從習得曲目的多寡、唱腔的演唱情況、以及觀眾的評價。四為唱腔的源流分析,筆者進行唱腔曲調等多面向的比較,得知皮影戲唱腔為潮調音樂,進一步以同唱詞的唱腔曲調做皮影戲與潮劇之旋律比較,其旋律內容難以達到完全相同,兩者僅止於詮釋特色的相同。皮影戲與潮調布袋戲的比較方面,進行劇目內容、唱腔名稱、唱詞與旋律、詮釋特色等方面的比較論述,幾乎呈現一致性,唯獨在唱腔旋律的句末旋律處理,略為不同。 後場樂部分,抄本內容主要以戲齣內容為主、忽略後場樂,筆者在443本的抄本中找到寫傳樂譜,證實皮影戲後場樂有樂譜的存在,一方面增加後場樂的理論曲目,另一方面,樂譜內的譜式記載為後場樂源流提供了強而有力的證據,樂譜運用的譜式包括二四譜與工尺譜。二為建立後場樂曲目,其組成內容仍得以梳理為理論曲目與實際曲目。三以譜式的觀點分析後場樂的習得方式與寫傳樂譜,進而探究後場樂源流,得知皮影戲後場樂運用了潮調與北管音樂。

關鍵字

皮影戲 唱腔 後場樂 潮調 二四譜

並列摘要


The shadow play has already developed for almost two hundred years in Taiwan. The locations of the troupes are limited. Only four of the shadow play troupes exist by the official culture performance, with the folk plays diminishingly. The research methods of this dissertation are in the way of historical methodology and fieldwork. The historical methodology builds up the manuscripts, references and the projects of shadowplay. The fieldwork establishes in the observation of the performance and the interviews of the puppeteers and players. This dissertation analyzes the singing-style (vocal music) and background-chamber music (the instrumental music). About the singing-style, there are four goals in this dissertation. One is to build up the complete repertory. Second is to describe the distinguishing characteristic, including extending and making melody by onomatopoeia. Third is to discuss the skill of the puppeteers. The puppeteers learn by the way of joining and listening. And the skill is good or not can be judged by the learning repertory, the singing, and judgments of audiences. The fourth is to discover the origin of the singing-stylein the comparing ways, including compared with Nanbriqu(南北曲), Kunqu(崑曲) opera, Ch’ao drama (潮劇)and the Ch’ao-tiao(潮調) glove puppetry. About the background-chamber music, there are three goals in dissertation. One is to discover the scores in the manuscripts including two-four system tablature(二四譜) and Gongche Pu(工尺譜). The scores not only increase the repertory, but also prove the origin of the background-chamber music. Second is to build up the repertory. Third is to discover the origin of the background-chamber music by analyzing the learning ways and scores in depending upon notation. Undoubtedly, the learning ways and scores also provides the most direct evidence for the origins. This dissertation demonstrates that the shadow play both use Ch’ao-tiao music and Beiguan(北管) music for the background-chamber.

參考文獻


2009 〈從譜式看臺灣皮影戲後場的音樂系統〉收錄於《臺灣音樂研究》No.9:29-56。
引用資料
一、影音資料
(一)實地調查
復興閣皮影戲團

被引用紀錄


張能傑(2008)。論民族藝師張德成新編皮影戲〔碩士論文,國立臺北大學〕。華藝線上圖書館。https://www.airitilibrary.com/Article/Detail?DocID=U0023-2508200816343300

延伸閱讀