民國上海的廣東新音聲 —廣東樂人與江南樂人的交流

Abstract

廣東音樂在民國時期，尤其是新文化運動以後，受到音樂發展的討論氛圍所影響，而成為其中一種音聲改變甚大的傳統樂種。本文以廣東樂人與江南樂人的交流為脈絡，闡述其中一部分民國時期轉化而成的廣東新音聲是啟發自上海的聲境中的江南音樂，以及有賴廣東樂人與江南樂人的交流。本文先簡述江南音樂早於十九世紀或以前已於廣東地區融入廣東樂種中的情況，然後描述廣東樂人十九世紀初在參與上海的生活中能聽到江南音樂的情景，從而展示江南音樂作為廣東樂人生活中其中佔一大比重的音聲，上海的廣東樂人因此能夠有機會運用江南音聲。其後，本文通過廣東樂人與江南樂人任悔初、沈肇州及祝湘石的交流，及對鄭覲文觀點的注視，展示江南音樂及轉化中的江南音樂的音聲元素，包括樂器、樂曲和樂律，是通過廣東樂人與江南樂人的交流，從而讓廣東樂人可以嘗試於廣東音樂中，最後產生這一部分的廣東新音聲。最後，本文以〈三六板〉及〈平湖秋月〉作音聲分析，從而展示廣東樂人運用江南音聲的方法。

During the Minguo period and more prominently after the New Cultural Movement, Cantonese instrumental music became one of the traditional genres which has changed the most under the influence of music development and vigorous exchanges. This paper contextualizes the interrelations between Cantonese musicians and their counterparts in Jiangnan area to explicate how the new Cantonese sound created during the Minguo period was inspired by Jiangnan music in Shanghai. By tracing the Cantonese adaptations of Jiangnan music back to the 19th century, the author characterizes the types of music popular in Shanghai, the scenario of musical activities and the presence of music in the daily life, which allow the Cantonese musicians to internalize and then appropriate the styles of Jiangnan music in their own compositions. The author also investigates the music and social relationships between Cantonese musicians with Jiangnan musicians, with special focuses on the works by Ren Hui-Chu, Shen Zhao-Zhou and Zhu Xiang-Shi and the music theory of Zheng Jin-Wen, and examines how this intricate network transforms the sound elements, including instrumentation, melody and rhythm. Through these exposures, Cantonese musicians are willing to try new music vocabularies in their works. The article ends by demonstrating how Cantonese musicians apply the techniques of Jiangnan musicians with a close analysis on San Liu Ban (Three-six Beats) and Ping Hu Qiu Yue (Autumn Moon Reflected on a Plain Lake).