民族樂器匈牙利揚琴之傳承、製作與演奏
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2012
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大約從十五世紀末開始，小型「擊絃德西瑪」(Hammered Dulcimer) 由外傳入匈牙利，在當地流傳了三百多年，其樂器結構雖然持續進步，但始終追趕不上時代的變化，以達到演奏家和作曲家的使用需求；直到十九世紀末製琴師─桑達‧文采爾‧約瑟夫 (SCHUNDA Vencel József, 1845-1923) 於1874年正式確立其樂器形制，增設了止音踏板並擴充音域，真正「匈牙利式揚琴」(Hungarian Cimbalom) 的歷史起源於此刻展開。
匈牙利揚琴的製琴產業隨著各代國體政權的轉換與社會經濟的變遷，在不同的背景環境求得生存，而戰爭的爆發往往都是影響製琴業發展與血脈傳承之主因，重創了文化的發展資源，即使在漫長歲月中歷經艱苦，飽受摧殘，製琴師始終捍衛著其產業的生命，因他們傑出的成就與貢獻，這件樂器如今才足以成為代表該國的民族象徵。
本文係以探討匈牙利揚琴之樂器製琴師、工坊與演奏三部分為主體，分析其製琴工藝與產業的傳承脈絡及發展歷程，並紀錄整個製作程序的步驟，欲從中瞭解其樂器結構、製作方式、使用材料、樂器維護及音位系統等相關問題；繼而解析該樂器的演奏工具類型、激發材料選用、演奏方法及其技法之表現與運用，力求闡明該樂器演奏的藝術特色。
此研究兼具「樂器法」及「演奏法」雙功能之用，從樂器的內外構造、功能、音域、音位排列、演奏技巧、符號及其運用等方面加以論述，以便掌握其樂器的性能與特性。希冀能夠提供相關音樂研究者、樂器製作者或是欣賞者作為指南工具書，這即為本文所具的意義和價值。無非是想盡一份民族音樂研究者的心力，完成對於異文化樂器的研究與保存工作，並對匈牙利揚琴的傳承、推廣與教育做出貢獻。
The small hammered dulcimer was brought to Hungary about the end of 15th century and circulated for more than 300 years. The structure of instrument had been adjusted frequently, but still failed to meet the needs of local musicians and composers given the drastic changes of time. It was not until the end of 19th century that the dulcimer maker SCHUNDA Vencel József (1845-1923) created an era for a whole new dulcimer, materializing the musical form, incorporating the sustain pedal and increasing the range. That was the historical starting point of true Hungarian cimbalom. It has been more than 140 years ever since the manufacturing industry of Hungarian cimbalom first started in 1868. In the context of changing nature of regimes and social/economic developments, the industry survived in a difficult way, not to mention the breakouts of wars that not only influenced the growth and inheritance of the industry, but damaged any possible resources for cultural progress. Cimbalom makers, however, never stopped protecting the industry. Thanks to their unparalleled achievements and contributions, Hungarian cimbalom becomes a token of spirit of the country. It is intended in this article to focus on three perspectives - Hungarian cimbalom makers, ateliers, and rendering of cimbalom to offer an analytical take on the inheritance and development of artisanship and development of the industry as well as document the steps of a complete process of cimbalom manufacture. By doing so, the structure of instrument, methods of manufacture, materials to be used, maintenance, and note system could be further discussed. The author also emphasizes analysis of types of hammers, selection of materials, methods and skills to play the instrument, highlighting the artistic features of the instrument. This study focuses on both the musical instrument itself and its rendering. From the external and internal structure, function, range, positioning of notes, skills of rendering, musical symbols to the use of instrument, it is attempted to provide a thorough understanding of the capability and characteristic of Hungarian cimbalom. It completely fulfills the objective of this study to serve researchers, musical instrument makers, or those who wish to appreciate the musicality of cimbalom as a guidebook. The author is dedicated to the research of ethnic music in the hope to study and reserve the distinctive features of Hungarian cimbalom and make substantial contributions to its inheritance, promotion, and education.
The small hammered dulcimer was brought to Hungary about the end of 15th century and circulated for more than 300 years. The structure of instrument had been adjusted frequently, but still failed to meet the needs of local musicians and composers given the drastic changes of time. It was not until the end of 19th century that the dulcimer maker SCHUNDA Vencel József (1845-1923) created an era for a whole new dulcimer, materializing the musical form, incorporating the sustain pedal and increasing the range. That was the historical starting point of true Hungarian cimbalom. It has been more than 140 years ever since the manufacturing industry of Hungarian cimbalom first started in 1868. In the context of changing nature of regimes and social/economic developments, the industry survived in a difficult way, not to mention the breakouts of wars that not only influenced the growth and inheritance of the industry, but damaged any possible resources for cultural progress. Cimbalom makers, however, never stopped protecting the industry. Thanks to their unparalleled achievements and contributions, Hungarian cimbalom becomes a token of spirit of the country. It is intended in this article to focus on three perspectives - Hungarian cimbalom makers, ateliers, and rendering of cimbalom to offer an analytical take on the inheritance and development of artisanship and development of the industry as well as document the steps of a complete process of cimbalom manufacture. By doing so, the structure of instrument, methods of manufacture, materials to be used, maintenance, and note system could be further discussed. The author also emphasizes analysis of types of hammers, selection of materials, methods and skills to play the instrument, highlighting the artistic features of the instrument. This study focuses on both the musical instrument itself and its rendering. From the external and internal structure, function, range, positioning of notes, skills of rendering, musical symbols to the use of instrument, it is attempted to provide a thorough understanding of the capability and characteristic of Hungarian cimbalom. It completely fulfills the objective of this study to serve researchers, musical instrument makers, or those who wish to appreciate the musicality of cimbalom as a guidebook. The author is dedicated to the research of ethnic music in the hope to study and reserve the distinctive features of Hungarian cimbalom and make substantial contributions to its inheritance, promotion, and education.
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Keywords
匈牙利揚琴, 傳承, 製作, 演奏, Hungarian Cimbalom, Inheritance, Manufacture, Performance