台灣1991-2004年間「劇場歌仔戲」音樂設計手法探討──以河洛歌子戲團為例

Abstract

歌仔戲音樂設計的主導權，從過去音樂的「演員劇場」由演出者帶著即興成分的個人設計方式，迄今劇場歌仔戲的「作家劇場」特質，設計者的個人的專長與喜好，關鍵地影響戲劇所呈現的風貌。而音樂設計專門職位的出現，對於全劇的整體鋪排與佈局，統一音樂風格成為其必然的職責。從劇本主題思想、情節結構、場次安排、人物聯繫、人物個性等各方面做通盤考量，在風格上有明確的定位，全劇節奏上有既統一又有對比的整體設計。加上主題動機和主題音樂的設計與運用，在變奏技巧性、穿插使用藝術性上較早期更高層次、更細膩。 伴隨著專業音樂設計職務的出現，定腔定譜逐漸被接受。因應多樣化的需求，出現新腔、多樣的板式變化、二重唱、幕後合聲、精緻和聲編曲等手法，使音樂精細度與整體效果有顯著的提升。 本文對於台灣劇場歌仔戲音樂設計手法做廣面性的探討，從「編腔」與「編曲」兩大層面分論之，從唱詞語言與音樂的結合過程與各式技法、選曲風格的轉移、主題音樂的應用與鋪陳、串與弄的使用、其他音樂的寫作與安插、到樂隊配器的選擇…等逐一討論，期能為二十世紀後期的劇場歌仔戲音樂設計整理出基本概念與技法，為新世紀歌仔戲音樂設計提供發展與創新的參考資料。Previous Taiwanese opera style is controlled by the performer’s improvisation. However, the responsibility is shifted to different specialists. The specialty and preference of the specialist can significantly influence the style and their responsibilities include the atmosphere arrangement and music style unification for the play. In order to have a specific style, and more exquisite variation skills and “alternated-usage skills”; the theme, plots, scenery, characters relationship, characters’ personalities, and the exertion of subject-motive and music should be considered as whole. With the emersion of professional occupation of music designing, the fixation of music as for tune style and notation is gradually accepted. New tune styles, metrical-type changes, duo, of-scene, and exquisite homophony… etc., are innovated to meet diverse requirements. Furthermore, those innovations are used to improve or intensify performing atmosphere. This study on the music-design skills of Taiwanese opera is based on two major fields, “composition” and “arrangement. The topics which include the process and skill of language and music combination , shift of melody-selecting, application and arrangement of theme, prelude, interlude and other background music, and instrument-selecting will be discussed in the paper, sequentially. The purpose of this study is to collect the general ideas and skills of music designers of Taiwanese opera in the late twenty-century and be a reference to music designer.