舊皮箱的流浪兒:呂金守的歌謠創作歷程與特色

Abstract

呂金守的歌謠創作，具有濃厚的台灣在地色彩與人文關懷。無論是早期的台語流行歌曲或是客語流行歌曲創作，都表現出堅韌的生命力與台灣真實生活紀錄。 本論文研究主題，以呂金守的歌謠創作歷程與特色為主，以田野調查和文本分析進行研究。透過與呂金守的田野調查訪談，以及所提供之個人創作手稿，專輯歌曲CD，系統性的整理與分類，創作部分大致分作臺語歌曲、客語歌曲(客家笑科劇)和華語歌曲三大類。合作過的歌手、歌手所演唱過呂金守所寫的歌曲，逐一製成表格，並與其生平經歷相互參照，以了解他的成長背景及在音樂上的創作發展。論文第二章，先整理出呂金守的音樂創作歷程與特質，台語唱片詞作上的特質，和客家歌謠與笑科劇詞作上的特質。是庶民詼諧；是青春歌詩；是土地認同；更是族群之愛。本文將呂金守的歌謠特色歸類成三，分為第三章－從1960代共同的記憶為其歌謠特色一。第四章1970年之後的青春歌詩－轟動布袋戲曲和歌王、歌后的幕後推手，以及為女歌星打造的專輯為其歌謠特色二。第五章土地認同與族群之愛－呂金守是客家流行歌曲與笑科劇的帶動者，更能靈巧運用，一曲多變，創作「新」樣貌，為其歌謠特色三。 回顧台灣歌謠發展史，其豐沛的創作量，源源不絕的創作靈感，每一首歌曲詞作背後蘊含的多元意象或對於母語文學的意義，都值得我們從歌謠創作的角度，來解析呂金守的創作動機，以及時代精神意涵。

Lu Jin-Shou’s vocal compositions feature local Taiwanese color and humanistic concern. Both his early Taiwanese pop songs and his Hakka vocal music have strong vitality and document the lifestyle in Taiwan. This thesis focuses on Lu Jin-Shou’s compositional process and the characteristics of his music. The methodology is fieldwork and textual research. According to the interviews collected during fieldwork and the analysis of manuscripts and compact disc albums provided by the composer, I classify Lu’s composition into three categories: Taiwanese songs, Hakka songs (Hakka shiau-ke-jiu), and Chinese songs. The singers who collaborated with Lu or who have performed Lu’s music are listed in a chart along with their biographies. By using this chart, one can understand Lu’s background and compositional development. The second chapter of this thesis describes Lu’s compositional process and aspects of his participation in the production of Taiwanese pop song albums and his participation in Hakka music and shiau-ke-jiu making: this music is accessible and humorous, young and poetic, with a local identity and love for multiple ethnicities. In the essay, Lu’s songs are classified according to their characteristics into three parts. In third chapter, the first characteristic of these songs is the common memories in 1960s.In fourth chapter, the second characteristic is that the young and poetics after 1970s astonishing puppetry and being a key behind the scene for the popular singer, as well as being made for the female singers’ albums. The fifth chapter, titled “Local Identity and Love for Multiple Ethnicities,” shows the third characteristic of Lu’s music. Lu is a leader and promoter of Hakka pop music and shiau-ke-jiuhe. He masterfully creates new music by varying pre-existing songs. From the perspective of the history of Taiwanese pop music, Lu’s abundant output and ceaseless creativity, the multiple meanings embedded in his melodies and lyrics, and his contribution to the native language are worth examining. From such one can learn about the motivations behind Lu’s music and the spirit of his era.