竹北地區「田屋八音團」之研究
Abstract
台灣北部「客家八音」以桃竹苗三縣市為主要活動範圍，本論文以新竹縣竹北市之「田屋八音團」為研究主軸，並以探討新竹縣地區的八音活動概況、八音演奏形式、八音曲目相關之樂種、竹苗兩地區不同八音樂團的演奏風格之比較等等做為研究旁枝，藉以形成本論文之研究架構。
「田屋八音團」創立於民國10年，至今已有八十九歲的團齡，並於民國98年被列為「新竹縣定無形文化資產」之一。「田屋」之意，即由「田」姓者所聚集之血緣性團體，現任第三任團長為田文光老師，負責帶團練習與表演活動總召，其弟田文龍老師處理文書的工作，負責製作評鑑資料以及接洽演出，兩兄弟分工合作共同經營樂團，致使「田屋」之名能夠不朽於八音界。在其樂團之發展歷史中，與苗栗之「陳家班八音團」有深厚的淵源，同時又師承桃園龍潭之「黃家系統」的八音演奏技巧，身兼桃竹苗三地八音風格於一身，因此無論在歷史發展或是演奏風格分析方面，都是極具研究價值的對象。
客家八音之兩大演奏形式－吹場樂與絃索樂，亦為本論文之探討重點，文中論及傳統樂師與學者雙方之觀點，藉此歸納出吹場樂與絃索樂之曲目特色以及演奏風格，並以「田屋八音團」、「隴西八音團」、「陳家班八音團」所吹奏之【大開門】、【緊大開門】、【大八板】、【冷泡茶】四首曲目進行分析比較，使客家八音之精華一覽無遺。
本論文內文以「田屋八音團」之歷史展演、團長田文光之介紹、吹場樂樂曲分析、絃索樂樂曲分析四大要點，切入探討其樂團與客家八音之本質。筆者期望能藉由本研究紀錄「田屋八音團」的內容，使客家子弟更重視自身之文化內涵，並提供相關資料給後進研究者參考，一同將客家八音之精髓流傳於後世。
The scope of activities of Hakka Ba Yin Music is mainly distributed in three counties located in northern Taiwan, Tao Yuen, Hsinchu, and Miaoli County. This research is mainly about Tian Wu Ba Yin Group in Chupei City, Hsinchu County, aiming to investigate Ba Yin Music’s distribution, its type of performing and other musical types related to Ba Yin Music. In addition, this study compares the differences between Hsinchu and Miaoli County in terms of Ba Yin orchestra performing style. Thus, above studies forms the investigation structure of this paper. Tian Wu Ba Yin Group was founded in the 10th year of the Republic Era. Therefore, it has been established for eighty-nine years. In addition, in the Republic of 98th year, it was listed as one of the “intangible cultural property assigned by Hsinchu County”. The term Tian Wu represents people with the same family name Tian and they gather to form a blood relationship. Now, Tian Wu Ba Yin Group is headed by the third teacher, Wenguang Tian, who is responsible for practicing and performing the activities. As for his younger brother Wenlong Tian, he deals with document and arranges performances. Two brothers manage Tian Wu Ba Yin Group cooperatively so that Tian Wu becomes immortal in the field of Ba Yin music. Due to the fact that Tian Wu Ba Yin Group’s developmental history are deeply related to Chen Jia Ban Ba Yin Group in Miaoli County and its performance skill follows from Huang Jia system in Longtan, Taoyuan County, it combines Ba Yin musical style in Tao Yuen, Hsinchu, and Miaoli county together. Consequently, no matter in terms of developmental history or style analysis, Tian Wu Ba Yin Group is of great research value. Additionally, the two major forms of Hakka Ba Yin Music: Chinese horn and percussion music and Chinese string instrument music, are also the main investigating area in this research. Based on the comparison of opinions between traditional musicians and scholars, the purpose is to categorize the feature and performance style among Chinese horn and percussion music as well as Chinese string instrument music. Moreover, this research compares the differences among Da Kai Men, Jin Da Kai men, Da Ba Ban and Leng Pau Cha performed by Tian Wu Ba Yin Group, Ba Yin Group and Chen Jia Ban Ba Yin Group in terms of melody, hoping the essence of Ba Yin Music can be revealed. The purpose of this research is to explore the essence of orchestra and Hakka Ba Yin Music through investigating the developmental history of Tian Wu Ba Yin Group, introducing the header Wenguang Tian and analyzing the musical composition of Chinese horn and percussion music and Chinese string instrument music. I deeply believe that the research content is reliable and precise after a long-term data collection and repeated revision. Furthermore, through recording the detailed catalogue of Tian Wu Ba Yin Group, I expect that Hakka can pay more attention to their own culture and further pass the essence of Hakka Ba Yin Music to the future generation.
The scope of activities of Hakka Ba Yin Music is mainly distributed in three counties located in northern Taiwan, Tao Yuen, Hsinchu, and Miaoli County. This research is mainly about Tian Wu Ba Yin Group in Chupei City, Hsinchu County, aiming to investigate Ba Yin Music’s distribution, its type of performing and other musical types related to Ba Yin Music. In addition, this study compares the differences between Hsinchu and Miaoli County in terms of Ba Yin orchestra performing style. Thus, above studies forms the investigation structure of this paper. Tian Wu Ba Yin Group was founded in the 10th year of the Republic Era. Therefore, it has been established for eighty-nine years. In addition, in the Republic of 98th year, it was listed as one of the “intangible cultural property assigned by Hsinchu County”. The term Tian Wu represents people with the same family name Tian and they gather to form a blood relationship. Now, Tian Wu Ba Yin Group is headed by the third teacher, Wenguang Tian, who is responsible for practicing and performing the activities. As for his younger brother Wenlong Tian, he deals with document and arranges performances. Two brothers manage Tian Wu Ba Yin Group cooperatively so that Tian Wu becomes immortal in the field of Ba Yin music. Due to the fact that Tian Wu Ba Yin Group’s developmental history are deeply related to Chen Jia Ban Ba Yin Group in Miaoli County and its performance skill follows from Huang Jia system in Longtan, Taoyuan County, it combines Ba Yin musical style in Tao Yuen, Hsinchu, and Miaoli county together. Consequently, no matter in terms of developmental history or style analysis, Tian Wu Ba Yin Group is of great research value. Additionally, the two major forms of Hakka Ba Yin Music: Chinese horn and percussion music and Chinese string instrument music, are also the main investigating area in this research. Based on the comparison of opinions between traditional musicians and scholars, the purpose is to categorize the feature and performance style among Chinese horn and percussion music as well as Chinese string instrument music. Moreover, this research compares the differences among Da Kai Men, Jin Da Kai men, Da Ba Ban and Leng Pau Cha performed by Tian Wu Ba Yin Group, Ba Yin Group and Chen Jia Ban Ba Yin Group in terms of melody, hoping the essence of Ba Yin Music can be revealed. The purpose of this research is to explore the essence of orchestra and Hakka Ba Yin Music through investigating the developmental history of Tian Wu Ba Yin Group, introducing the header Wenguang Tian and analyzing the musical composition of Chinese horn and percussion music and Chinese string instrument music. I deeply believe that the research content is reliable and precise after a long-term data collection and repeated revision. Furthermore, through recording the detailed catalogue of Tian Wu Ba Yin Group, I expect that Hakka can pay more attention to their own culture and further pass the essence of Hakka Ba Yin Music to the future generation.
Description
Keywords
客家八音, 竹北地區, 田屋八音團