南北交加・東西交響：日治時期北港音樂子弟團的分類與發展

李孟勳。〈南北交加・東西交響：日治時期北港音樂子弟團的分類與發展〉。《民俗曲藝》198 (2017.12): 127-64。

Li Meng-hsun. "Polyphonic Melodies: The Classification and Development of Beigang Amateur Musical Troupes during the Japanese Colonial Era." Journal of Chinese Ritual, Theatre and Folklore 198 (2017.12): 127-64.

Abstract

北港地區在十七世紀即形成繁榮的港口市鎮，加上媽祖廟的香火鼎盛，子弟團的活動興盛，其樂種相當多元，包括南管、北管、十三腔、京戲、九甲戲、歌仔戲、西樂等。本文討論北港的音樂子弟團在日治時期的分類和發展。

日治時期北港子弟團的樂種和組織均增加，傳統和現代交會。在每年朝天宮聖母遶境行列中，子弟團以「南的」、「北的」、「西的」為群組排列，形成地方社會的秩序。日治末期的皇民化運動，子弟團的活動暫時受到壓抑，但並未消失。

Beigang had been a busy port town since the seventeenth century. The popularity of the Mazu Temple and active amateur musical troupes (tsú-tē troupes) both added to the prosperity of the town. Musical troupes in Beigang include lâm-kuán, pak-kuán, sip-sam-khiang, Beijing Opera, káu-kah-á-hì, kua-á-hì, and western music. In this paper, I discuss the classification and development of amateur musical troupes in the Japanese Colonial Era.

During the Japanese Colonial Era, the types and number of tsú-tē troupes both increased, integrating tradition and modernity. In the annual Mazu procession of Chaotian Temple, the tsú-tē troupes fell into "South," "North," and "West" groups according to their respective styles and positions in the social order. Activities of the tsú-tē troupes, though temporarily curbed by the Kominka movement of late Colonial Japanese Era, had never died down.