Browsing by Author "Yu-chen Lin"

Filter results by typing the first few letters
Now showing 1 - 2 of 2
  • No Thumbnail Available
    Item
    78轉唱片數位優化之探討 －以1926年日蓄唱片《陳三五娘大公》為例
    (2013) 林雨辰; Yu-chen Lin
    本篇論文主要以探討78轉唱片的數位化與降噪技術為主，《陳三五娘大公》(一)~(六) (以下簡稱《大公》)為研究範圍，並以《大公》(二)為研究對象。《大公》這批78轉唱片出版時間為1926年10月6日，由日蓄唱片公司發行的第一批在臺錄製歌子戲唱片。因唱片年代久遠加上保存不良等因素，使唱片嚴重耗損；為了重現當年音樂，筆者將藉由現代的科技技術將原始聲音再現。 本文先根據其78轉唱片《陳三五娘大公》背景做敘述。分成兩大部分：一、圓盤唱片的歷史背景：其78轉唱片屬於圓盤唱片的一個分支，於此將唱片歷史做一簡述介紹，也探討留聲機如何傳入臺灣與此張唱片的歷史意義。二、《陳三五娘大公》唱片介紹：其「陳三五娘」故事極具知名，但其所蒐集唱片卻增加「大公」二字。於此，此部分先回顧「陳三五娘」故事，爾後根據《陳三五娘大公》唱片，從中探討其「大公」的由來，並採譜《大公》(二)進行深入的分析。 此套唱片因受到不同因素的影響，其狀況不佳，連帶聲音品質下降。透過國立臺灣師範大學「音樂數位典藏中心」的標準化流程，將其78轉唱片數位化，其流程包括「原件清理」、「調整器材」、「類比數位轉換」、「成品監聽」等。並使用兩套軟體：SoundBlade、Nuendo，進行聲音降噪的處理。藉由聲音軟體將過多的噪音及雜音濾掉，逐步重現原音。文中採用圖片輔以文字解說，使人更加了解其數位優化過程。 本研究以實務為核心，透過有系統性的數位化與降噪作業標準流程，希冀提供給相關音樂研究者、音樂科技工作者、唱片修復人員一個前瞻性與建設性的工作指南，讓更多人瞭解其數位典藏的價值與應用。
  • No Thumbnail Available
    Item
    “[T]o be in touch with some otherness”: Memory, History, and Ethics in Brian Friel’s Dancing at Lughnasa*
    (英語學系, 2013-09-??) Yu-chen Lin
    The hybrid form of storytelling and drama in Brian Friel’s Dancing at Lughnasa (1990) has been associated with the play’s escape from history. By contrast, this essay suggests that the play’s eccentric use of narrative in conjunction with representation is shot through with history in that it registers Friel’s poetics in writing a chapter of Ireland’s moral history against the official grain. This counter-history rests on the disparity between the Mundys and the state in terms of ethics. At a time when the Free State aspired to an untenable economy to sustain the nationalist ideal of self-sufficiency, the Mundys suffer tremendously not only from economic stagnancy consequent upon state policies, but also from their estrangement from the state which defines them as the superfluous other. Dispossessed as they are, they still practice a gift economy which verges on the impossible not so much because they can barely afford giving as because, in its generosity to the other, this economy goes beyond the state’s self-other divide. This impossible gift is reconfigured, albeit problematically, by the narrator who makes sense of his past shared with his maternal family. Set in the 1960s, his memory narrative is ultimately framed by the playwright’s tribute to his maternal aunts as well as innumerable diasporans at home and abroad from the hindsight of 1990, a tribute coinciding with Mary Robinson’s extension of hospitality to her audience on behalf of the new Ireland in her inaugural speech.