江南絲竹之形塑──環境與文化的交會

Abstract

「江南絲竹」為一流行於「江南」的樂種，以其「小、輕、細、雅」標異於其他區域，本研究欲探究此樂種何以受環境的影響，產生出一種特殊之韻味。 本研究利用Mike Crang對於文化與空間彼此相互建構的觀點，探究音樂與空間之間的關係；利用前人研究成果以及中國各時期之史料、地方志，分析「江南」的環境形塑「江南絲竹」之過程。研究結果如下： 1.「江南」作為一展現文化之空間，其範圍及文化意涵經過中國歷史的發展，有了很大的轉變；而生發其上的「江南絲竹」也隨著「江南」被賦予的符號與想像，漸漸形塑出能代表此區域的風格，進而在近代中國受西化的浪潮衝擊之下，能以此作為區辨及承載社會意義的載體。 2.「江南絲竹」源自於民間的日常生活之中，經文人修飾致「雅」，而有「俗樂雅樂化」的現象。因受中國共性文化影響之江南，仍是以文人士大夫為首的社會型態，而使得「江南絲竹」之風格論述，以文人士大夫之喜好為依歸。 3.「江南絲竹」之「雅」為個人從禮教傳統之中的解放，為個人向結構控制的一種反動，同時也是一個下層階級向上學習的入口。‘Jiangnan Sizhu’ is a style of traditional Chinese instrumental music from the area called ‘Jiangnan’. The charactors ‘small’, ‘lively’, ‘fined’ and ‘graceful’ are making ‘Jiangnan Sizhu’ different from the others. In this research, it will tell the relationship between environment and music as a culture practice. In Mike Crang’s opinion, the interaction between the culture and the space is a dynamic process. Via the references and history records, the ‘Jiangnan Sizhu’ and ‘Jiangnan’ are interacting as the following dimensions : 1.‘Jiangnan’ was changed in the past. As a space to present the music, the images of ‘Jiangnan’ are signified onto ‘Jiangnan Sizhu’. And ‘Jiangnan Sizhu’ becomes a symbolic as an opposition to the West. 2.‘Jiangnan Sizhu’, a Chinese folk music, populared in the people’s lives, but after the scholars who adored by the mass refined it, the refined style becomes the main character of ‘Jiangnan Sizhu’. 3.The intension of ‘Jiangnan Sizhu’, a life position called ‘Ya’ in Chinese, means the individuls break out of the trandition, resist the control of the structure, and as an entrance up to the high class.