張儷瓊。〈閩客潮箏曲《出水蓮》的地緣背景及演奏流變：以張學海、饒寧新、林毛根三個演奏版本為例〉。《民俗曲藝》194
(2016.12): 53-112。
Chang
Li-chiung. "The Geo-relational Background and Performance Variations of
the Piece “Lotus” in Minnan, Hakka,
and Chaozhou Zheng Music: On the
Three Versions of Zhang Xuehai, Rao Ningxin, and Lin Maogen." Journal of Chinese Ritual, Theatre and
Folklore 194 (2016.12): 53-112.
Abstract
閩南粵東之境的箏樂傳統包括了福建箏樂、客家箏樂、潮州箏樂三個箏樂脈絡，簡稱為閩南箏派（閩南箏）、客家箏派（客家箏）及潮州箏派（潮州箏）。整體而言三個箏派體系傳承的曲目互有重疊；在演奏風格上，閩南箏樂清麗簡約，客家箏樂典雅樸質，潮州箏樂旖旎婉轉。實際上三者在演奏手法、造句語彙方面則各有特色。本文以閩客潮《出水蓮》為例，探討三個箏派的同一曲目在形質表現上的異同點，並在地緣與音景環境之下分析閩客潮三個演奏版本的同質與流變。研究發現，特殊的地緣關係構成了閩客潮箏樂的音景，閩客潮三個箏派演奏手法的特點、用韻形質的不同，尤其是左手作韻技法的異質特徵，是區別箏派音樂風格最重要的因素。閩粵交界之境的生活地緣相近，民系之間的文化交流使得曲目充分產生借鑒和融合。不同民系的語言和習慣則使得演奏細節和審美意趣互有異質，構成一番似同若異的區域箏樂音象景況。
In
the bordering area between South Fujian and East
Guangdong , there are three primary zheng schools, representing respectively the Minnan, Hakka, and
Chaozhou’s cultural traditions. Generally speaking, the repertoire of these
three zheng schools overlap. In terms
of their stylistic features, Minnan zheng
music is mainly characterized by its clarity. Hakka zheng music is often interpreted as classic and elegant. Chaozhou zheng music is well-known for its
embellishments and refined subtlety. The stylistic features of the three zheng schools are inferred from their
unique performing skills as well as characteristic musical vocabularies. This
article aims to investigate three versions of “Lotus” from Minnan, Hakka, and Chaozhou zheng music in an attempt to discuss the similarities and
diversities based on the geo-relations and the melodic contours. The study
indicates the fact that the special geo-relation of South Fujian and East Guangdong helped form distinct melodic contours in
this area. The performance techniques, especially the sliding and pressing
techniques of left hand fingers, is the most decisive factor in determining the
stylistic features of the three zheng
schools. Due to the similar geo-relational circumstances of this area and the
cultural interactions between ethnic groups, there had been sufficient
integration between repertoires of zheng
music. On the other hand, different linguistic background and customs brought
about distinct instrumental details and aesthetics. Ultimately, there exists
both similarity and diversity of the melodic contours among Minnan, Hakka, and
Chaozhou zheng Music.
Also
in Journal of Chinese Ritual, Theatre and
Folklore:
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.
http://ritualtheatreandfolkloreat.blogspot.tw/2014/08/blog-post_25.html
張儷瓊。〈客家「串調」箏曲之研究〉。《民俗曲藝》175 (2012.3):
43-88。
Chang Li-chiung. "A Study of Hakka Zheng Music Chuandiao." Journal of Chinese Ritual, Theatre and Folklore 175 (2012.3): 43-88.
http://ritualtheatreandfolkloreat.blogspot.tw/2012/03/blog-post_29.html
Chang Li-chiung. "A Study of Hakka Zheng Music Chuandiao." Journal of Chinese Ritual, Theatre and Folklore 175 (2012.3): 43-88.
http://ritualtheatreandfolkloreat.blogspot.tw/2012/03/blog-post_29.html
張儷瓊。〈從「以箏托腔」到「器寫人聲」：論河南箏樂對曲劇音樂之吸收與借鑑〉。《民俗曲藝》170 (2010.12): 177-231。
Chang
Li-chiung. “From Accompaniment to Vocal Imitation: The Adaptation and
Application of Quju Music in Henan