吳佩熏。〈北港媽祖轎前「馬陣吹」的歷史傳承與藝師蘇仁義的宗教實踐〉。《民俗曲藝》232 (2026.6): 51–106。
Wu Pei-hsun. “The Historical Lineage of Beigang Mazu’s Mazhenchui Temple Procession Troupe and Master Artist Su Ren-yi’s Religious Practice.” Journal of Chinese Ritual, Theatre and Folklore 232 (2026.6): 51–106.
Abstract
本文探討樂手、陣頭與儀典的相互關係，冀以在音樂事件與宗教活動中尋求意義與秩序。十七世紀起福建移民渡海來臺，媽祖信仰與廟宇隨之落地扎根，1980年代以來兩岸的宗教活動往來頻繁，在臺灣傳承與發展的媽祖儀典，北港迎媽祖更是發展出特有的轎前鼓吹樂陣頭—「馬陣吹」。不論是全開筒音較低的1至3號嗩吶（大吹），或是全閉筒音最高音的5號嗩吶（細吹），作為主奏樂器，都出現過「南的」音樂風格。因此本文要予以辯證的是：「鼓吹（嗩吶）即北管」、「『南的』是廣義南管音樂範圍」的說法。總結本文之研究，臺灣鼓吹樂所謂「南的」，意指以北管音樂為基準，再與另一種主奏吹樂器合流，展現出新的音樂風格。北港馬陣吹供奉田都元帥為祖師爺，使用的鼓吹型號為全臺音域最低的「2號」，筒音f¹音，即泉州籠吹的2.5號嗩吶，其音樂風格與歷史溯源是可歸納為「奉行泉州籠吹兼融南北譜的演奏技巧與樂理」。梳理北港朝天宮馬陣吹的傳承徑路，應當源自於泉州籠吹；而藝師蘇仁義率領「北威聲奏樂團」的宗教實踐，乃欲重振馬陣吹具備「轎前導迎樂」的陣頭定位，並貫徹「馬陣吹義務出陣」的初衷。
This study explores the interrelationships between musicians,
temple procession troupes (zhentou), and rituals, seeking to find
meaning and order within musical events and religious activities. From the
seventeenth century onwards, immigrants from Fujian crossed the sea to Taiwan,
with the cult of Mazu and its temples developing accordingly. Since the 1980s
religious exchanges between Taiwan and China have increased, with the Beigang
Welcoming Mazu festival in particular developing a unique guchui (suona
music) troupe, referred to as mazhenchui, that escorts the deity’s sedan
chair. Whether it is the No. 1 to No. 3 suonas (Dachui) with the lowest
fully closed tone, or the No. 5 suona (Xichui) with the highest fully
closed tone, which is used as the main instrument, the southern-style musical
style has become manifest. Therefore, this study aims to challenge the notions
that guchui (suona) is beiguan and that the southern-style
falls within the broad scope of nanguan music, and in conclusion
suggests that the so-called southern-style in Taiwanese guchui music
refers to a performance that uses beiguan music as a base and merges
with another main wind instrument to exhibit a new musical style. Beigang
mazhenchui troupes worship Marshal Tiandu as their founding master. The guchui
model is the No. 2, which has the lowest pitch in Taiwan and a fundamental tone
in F, equivalent to the 2.5-inch suona of Quanzhou Longchui (musical
instruments stored in a bamboo-woven cage or a wood-carved box. The main
instruments are a No. 2.5 suona [fully closed tone f¹] and a No. 4 suona
[fully closed tone g¹#], as well as gongs and drums). Its musical style and
historical origins can be summarized as adhering to the performance techniques
and music theory of Longchui while also integrating the musical notations (pu)
of both southern and northern styles. Tracing the lineage of the mazhenchui
from the Beigang Chaotian Temple reveals that it originates from Longchui. The
religious practices led by master artist Su Ren-yi and the Beiweisheng
Performance Troupe aim to revitalize the mazhenchui’s position as a
sedan-front guiding temple procession troupe, while upholding the original
spirit of its voluntary performance.