論《八板》在箏樂流派中的形質流變－以客家大調箏曲與河南板頭曲為例

Abstract

在眾多箏樂流派中，有許多箏曲與《八板》的曲體內容息息相關，本文即以客家大調箏曲與河南板頭曲為研究主體，探討《八板》在不同箏派中的形質流變。 本文揀選了四首客家大調箏曲以及四首河南板頭曲，並且分別與《八板》曲譜對照比較，從中觀察樂曲與《八板》之關聯性，同時就板式變化、旋律特徵、變奏手法與演奏技法等面向，探討《八板》在兩派箏曲中所展現的異質風格。 透過本文研究發現：《八板》作為客家大調箏曲與河南板頭曲的旋律結構基礎，在流變過程中，加入不同的演奏技法與樂彙表現，形成風格迥異的箏派風格，也呈現出《八板》的多元性與豐富性。In the schools of Zheng , there are many zheng pieces that correlate with the content of “Ba-Ban”. This thesis studies The development of external and internal characteristics of “Ba-Ban” based on Hakka Dadiao and Henan Banton. This thesis studies four pieces each of Hakka Dadiao and Henan Banton to investigate their correlation with “Ba-Ban”. At the same time, from the aspects of rhythms, melodies, variations, and performance techniques, we will study the different styles of “Ba-Ban” in the two schools of Zheng. This thesis concludes that by merging different techniques, styles and nuances with the melodic structure of Hakka Dadiao and Henan Banton, “Ba-Ban” can demonstrate diversity and richness in the schools Zheng.