高等教育體制下的北管傳習：以國立臺北藝術大學傳統音樂學系北管教學實踐為例

潘汝端。〈高等教育體制下的北管傳習：以國立臺北藝術大學傳統音樂學系北管教學實踐為例〉。《民俗曲藝》203 (2019.3): 111-62。

Pan Ju-tuan. “The Transmission of Beiguan in Higher Education in Taiwan: A Case Study of the Teaching of Beiguan in the Department of Traditional Music of Taipei National University of the Arts.” Journal of Chinese Ritual, Theatre and Folklore 203 (2019.3): 111-62.

Abstract

臺灣學校音樂教育自日本殖民時期以來，舉凡是一般的音樂課程、專業式的音樂學習、各級學校中的音樂實驗班及大專院校的音樂系，幾乎都是以西方藝術音樂教育為主要教學目標，這與臺灣在解嚴前音樂教育政策的發展方向有關。約在1980年代，因着本土化的意識抬頭，各類傳統技藝成為被保存、傳習、與推廣的對象，對於臺灣的音樂該是什麼，也被越來越多的學者所關注。國立臺北藝術大學在馬水龍教授及呂錘寬教授等人的努力下，於1995年創立了全臺唯一以「傳統音樂」為名的學系。臺灣兩大民間樂種「南管與北管」成為該學系主修課程的重要組成。本文將討論傳統音樂學系是如何將臺灣傳統樂種「北管」轉換成正規教育體制下的教學實踐；其次，說明北管教學系統的建構理念與實際發展，並探討這些因着被計畫教育出來的北管新聲，又該如何回到社區成為新的北管傳人。

Since the Japanese colonial period, the instructional objectives of music education in Taiwan’s schools at all levels have been mostly based on Western art music. This applies to general music courses, professional music studies, music programs for talented students, and music institutions within universities and colleges. This is reflected in the development of music education policy before the lifting of martial law in Taiwan. In the 1980s, due to the rising awareness of localization, a range of traditional arts started to be considered as worthy of being preserved, learned, and promoted. Therefore, the question of “what is Taiwan’s music?” has been asked by scholars. In 1995, the first department under the category of “traditional music” was established in Taiwan at Taipei National University of the Arts, thanks to the efforts of Professor Ma Shui-lung馬水龍 and Professor Lu Chui-kuan呂錘寬. Nanguan南管 and beiguan北管, genres originating from Taiwan’s grassroots, have become two important majors in the Department of Traditional Music. First, I will discuss how TNUA’s traditional music department transformed the Taiwanese traditional music genre of beiguan into a teaching practice in the formal educational system. Secondly, I will address the concept of the teaching system and its actual development. Thirdly, I will explore how the revival of beiguan through formal education should involve the communities where it came from and be futher revigorated.