阮在臺灣京劇樂隊的地位與功能
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2023
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Abstract
在傳統京劇樂隊中，文場主要以京胡、京二胡、月琴、三弦等四大件為伴奏樂器。隨著文化大革命，樣板戲的產生，以及國樂交響化的影響，京劇加入中阮、大阮伴奏，樂隊編制從原有的四大件擴充至六大件，彌補低音區的聲響，使得伴奏更為豐富。早期每位樂師都需要精通多種樂器的演奏，通常阮是四大件後的樂器，所以不會有主修的人來進行演奏，但在臺灣學院的體制下及市場上的需求，慢慢開始改變，現代臺灣京劇樂師，開始有專精一樣樂器的趨勢。由於臺灣少有論及京劇文場樂隊的運用之文獻，因此希望藉由訪談臺灣京劇伴奏樂師，與自身實際伴奏的經驗，探討阮在京劇樂隊中，與唱腔及其他文武場樂器的相互關係，以及阮的定弦、和弦、技法如何運用於京劇伴奏中。
In traditional Peking Opera, there were four main instruments that made up the orchestra: the Jinghu, Erhu, Yueqin and the Sanxian. With the emergence of Revolutionary Opera Model Dramas during the Cultural Revolution and the “symphonicization” of traditional Chinese music, the Daruan and the Zhongruan were added to the Peking Opera Orchestra. This expanded the number of main instruments from four to six, adding to the bass range to make the musical accompaniment sound richer.In the early days, musicians had to be proficient in multiple instruments. The Ruan was considered an addition to the initial four main instruments, and so it was not an instrument that musicians specialized in performing. However, with the institutionalization of the Taiwanese education system and increase in market demand, this has slowly changed: the trend is now for contemporary Taiwanese Peking Opera musicians to specialize in the playing of one instrument.In light of the limited literature in Taiwan about the use of the wind and stringed instruments in a Peking Opera Orchestra, the author hopes to interview Taiwanese Peking Opera musicians and analyze their experiences in order to uncover how tuning, chords and playing technique are used in the performance of the Ruan, and explore the relationship between the Ruan, singing voice and other instruments in the Peking Opera Orchestra.
In traditional Peking Opera, there were four main instruments that made up the orchestra: the Jinghu, Erhu, Yueqin and the Sanxian. With the emergence of Revolutionary Opera Model Dramas during the Cultural Revolution and the “symphonicization” of traditional Chinese music, the Daruan and the Zhongruan were added to the Peking Opera Orchestra. This expanded the number of main instruments from four to six, adding to the bass range to make the musical accompaniment sound richer.In the early days, musicians had to be proficient in multiple instruments. The Ruan was considered an addition to the initial four main instruments, and so it was not an instrument that musicians specialized in performing. However, with the institutionalization of the Taiwanese education system and increase in market demand, this has slowly changed: the trend is now for contemporary Taiwanese Peking Opera musicians to specialize in the playing of one instrument.In light of the limited literature in Taiwan about the use of the wind and stringed instruments in a Peking Opera Orchestra, the author hopes to interview Taiwanese Peking Opera musicians and analyze their experiences in order to uncover how tuning, chords and playing technique are used in the performance of the Ruan, and explore the relationship between the Ruan, singing voice and other instruments in the Peking Opera Orchestra.
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京劇, 後場, 阮, 六大件, Peking Opera, Peking Opera Orchestra, Ruan, Six Main Instruments of Peking Opera Orchestra