張儷瓊。〈客潮二派箏樂小曲之形質流變〉。《民俗曲藝》184 (2014.6): 155-227。
Chang
Li-chiung. “A Research on the Form
and Character of Zheng Folk Tunes in
Hakka and Chaozhou Music.” Journal of Chinese Ritual, Theatre and
Folklore 184 (2014.6): 155-227.
Abstract
中國音樂社會流傳數量豐富的小曲，它們是民間音樂發展流播過程中多元納涵而形成的藝術小品。傳統箏樂的演奏吸收了各種來源的小曲，在各地箏派音樂中展開各異的形質表現。本文針對客家、潮州箏派的箏樂小曲進行研究，將客潮二派相同曲目進行比較，凸顯粵東箏樂小曲系出同源的脈絡關係，並探討其形質流變的現狀，比較二者之間在曲體形式、音階用調、樂彙特色、演奏方法與風格表現方面之異同。文中除了聚焦於箏樂小曲的形質探討之外，更透過客潮地方樂種之間的交融與互涉關係，探勘箏樂小曲音樂文本及其流播情況。
研究發現，客家箏樂和潮州箏樂同樣受到外江音樂的傳播影響，承載了來源多樣的小曲，其音樂表現因特定族群樂種的背景和審美習慣的差異形成各自的特色。本文比較探討客潮二派存見的箏樂小曲，歸納出下列現象與結論：一、民間音樂「死譜活彈」的流傳習慣，造成了客潮箏樂小曲的曲體變異和行韻表現的不同。二、地理背景、文化結構和經濟發展的不同，形成客潮箏樂小曲傳播和保存的異質條件。三、樂種的承載和小曲的背景來源是決定箏樂樂彙風格的重要因素。四、人文的交流與互涉是客潮二地箏樂小曲在調骨上統一的關鍵。以上種種來自歷史地理的因素以及社會人文的影響，皆具體表現在客潮二派箏樂小曲的形質殊異上。
There
are numerous folk tunes circulating in Chinese society. These are pieces of
musical art incorporated in the diverse processes of folk music tradition. The
performance of traditional zheng
absorbs folk tunes from different sources and re-presents them in multiple
forms that belong to different schools of zheng
music. In this study, I examine the folk tunes of the Hakka and Chaozhou
schools of zheng music, compare
repertoires of the two schools, and highlight the common context where they originated.
I also investigate the current state of their forms and characters, including
musical forms, tunes, musical patterns, performing techniques and performing
manners. In addition to exploring the characters of folk tunes of zheng music, I also probe into the
musical texts and their circulation through analyzing the relations between
different local musical genres.
My
study discovers that both the Hakka and Chaozhou zheng music were influenced by waijiang
(other provinces) music and acquired folk tunes from diverse origins. From
their separate ethnic musical background and aesthetic taste, individual
features took shape. Based on my analysis, I conclude that, first; inclination
of folk musicians to improvise on a set tune had caused musical forms and tunes
to vary. Second, the differences in geographical, cultural and economical
developmental background had conditioned the dissemination and preservation of zheng folk tunes in Hakka and Chaozhou
music. Third, the inherence of musical genre and origins of these folk tunes
are the most important factors that determined the zheng music’s vocabulary and style. Fourth, cultural communication
between Hakka and Chaozhou people are critical factors that contributed to
their zheng music’s shared tonal
system. The above-mentioned historical and geographical factors and social
influences resulted in the different forms and characters of zheng folk tunes of the Hakka and
Chaozhou schools of music.