從《台灣鄉土交響曲》論許石民歌採集與音樂記錄脈絡

徐玫玲。〈從《台灣鄉土交響曲》論許石民歌採集與音樂記錄脈絡〉。《民俗曲藝》201 (2018.9): 169-225。

Shyu Mei-ling. “A Study of the Folk Song Collection and the Context of the Musical Records of Hsu Shih, Being Based upon His Work Symphonic Folk Songs of Taiwan.” Journal of Chinese Ritual, Theatre and Folklore 201 (2018.9): 169-225.

Abstract

以〈安平追想曲〉與〈鑼聲若響〉為人所知的許石，是二次戰後最重要的臺語流行歌曲創作者之一，其早逝於1980年，徒留「歌」比「人」紅的遺憾。然他是臺灣少數跨足流行歌曲與民歌採集的音樂人，從1946年自日返臺後，憑藉一己之力積極於臺灣各地蒐集民歌，甚至與烏來部落觀光歌舞團「清流園」密切合作演出。這個隱蔽的身分，數十年來鮮有人知他在這方面的卓越貢獻，尤其1964年首演的《台灣鄉土交響曲》，編制結合中西樂器，引用多首臺灣民歌旋律，實為許石民歌採集的極致實現。故本文欲以此首交響曲中的民歌為重心，反推式的首先深入探討，許石的民歌採集與對民歌的看法，再借助許石家屬所提供大量的文物資訊，歸結出許石定期舉辦的音樂會、相關歌本出版，與設立唱片公司，錄製一系列其所編曲的民歌唱片。上述這些活動看似個個獨立，其實環環相扣，不僅呈現許石民歌採集的音樂記錄脈絡，更可體現最後反芻於《台灣鄉土交響曲》的歷程。

Mr. Hsu Shih, who is well recognized through his significant and symbolic songs, “Anping Melody” and “Tone of the Gong,” is one of the most important composers of Taiwanese popular songs after WWII. Because he died when he was only 61 years old, his songs are much more well known than his name.

But, as a musician, he devoted himself not only to pop song writing but to the collecting of Taiwanese folk songs. After his return to Taiwan from Japan in 1946, he travelled all over Taiwan to collect folk songs through his own effort. He also closely worked with a dancing group for tourists, “Ching-liu Garden,” in Wulai.

With his hidden status, hardly anyone realized his superb contribution in his folk song collecting in the past few decades. His Symphonic Folk Songs of Taiwan premiered in 1964, had been arranged with traditional Taiwanese and Western music instruments. In this symphony, there are many Taiwanese folk songs melodies which are well assimilated in the whole work. It is the musical realization of Mr. Hsu’s effort in this folk song collecting.

In this paper, I’m focusing on the folk songs in Symphonic Folk Songs of Taiwan. Firstly, I study Mr. Hsu’s point of view about folk songs and their collecting method. Secondly, thanks to Mr. Hsu’s family who provided me with a great amount of Mr. Hsu’s original materials, I am able to trace Mr. Hsu’s periodical concerts, his publication of the related song books, and the series of recordings of his own folk song arrangements.

The study of these activities in Mr. Hsu’s career will lead us to the paths that Mr. Hsu had taken in collecting folk songs. It will also help us to discover the process of his composition of Symphonic Folk Songs of Taiwan.