張炫文、施福珍與簡上仁的福佬系兒歌之比較研究

Date
2018
Authors
簡吟竹
Chien, Yin-Chu
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Abstract
本研究旨在透過分析、比較,探討張炫文、施福珍與簡上仁三位作曲家的福佬創作兒歌,在音樂組織與歌詞特色方面的異同之處,並期待此研究結果可作為其他研究者之參考。 本論文共分為六章。第一章緒論,主要在說明研究的緣由、過去的研究情形、研究的對象、範圍、方法及目的等。第二章至第四章,分別從「成長與背景」、「理念與實踐」及「成果與貢獻」三個面向,來介紹張炫文、施福珍及簡上仁的音樂生涯,並敘說他們從事歌樂寫作的發展過程及所創作的福佬系兒歌之概況。第五章,除了分別選出他們具代表性的十首兒歌作品,並就曲調特性及歌詞特色,進行深入分析及比較。最後一章,則是研究過程的回顧、成果報告及對相關研究的建議。 本研究結果得知張炫文、施福珍及簡上仁都是勤奮學習,態度熱心的音樂家,雖來自不同的成長背景,但至少都完成了碩士學位。他們年少時期都有相同的鄉土民俗曲藝體驗,孕育為熱心為孩子們創作鄉土母語兒歌的理念,並努力實踐之。張炫文創作的福佬兒歌雖較少,但作曲技巧成熟,運作自如,但有些較不適合兒童,其歌詞大多他人所作;施福珍創作數量最多,講究旋律口語化,作品絕大多數為兒童而創作,也深受兒童喜歡;簡上仁的創作數量亦不少,他除了强調曲調和聲調的諧和一致,還用心講究鄉土音樂的承傳,在宮、羽調式之外,特別創作徵調兒歌。總之,三位的福佬系兒歌作品,對兒童音樂教育、藝術與人文領域與母語教學都有一定助益與貢獻。
This study analyzes, compares and explores the similarities and differences of the musical structures and lyric characteristics of the Holo children’s songs created by three composers -- Chang Hsuan-wen, Shih Fu-chen, and Chien Shang-jen. Hopefully, the results obtained in this study will be useful to future researchers. This thesis is divided into six chapters. Chapter One, Introduction, mainly explains the reasons for the research, its subjects, scope, methods and objectives, and discusses similar studies conducted previously. Chapters Two, Three, and Four introduce the music career of these three composers, the developmental processes of their music composition and song writing, and the Holo Children’s songs they have composed. Chapter Five makes an in-depth analysis and comparison of ten representative children’s songs composed by each of them from the perspectives of melody and lyric characteristics. In the last chapter, the research process is reviewed, research achievements are presented, and suggestions are offered to relevant researches in the future. This study has found that these three musicians – Chang hsuan-wen, Shih Fu-chen, and Chien Shang-jen – are all diligent learners and enthusiastic music practitioners. Although having grown up in different environments, each of them has received at least a master’s degree. In their childhood, they enjoyed similar experiences of Taiwanese folk art as well as folklore. These experiences helped them form the idea of creating children’s songs for kids with passion and meanwhile strive to put this notion into action. Although the number of Holo children’s songs by Chang hsuan-wen is comparatively small, he demonstrates mature composition skills and applies these skills remarkably. However, some of Chang hsuan-wen’s works are less suitable for kids. The words of Chang’s songs are mostly written by others. Of the three, Shih Fu-chen has composed the largest number of Holo children’s songs. He considers it important that melody should be as smooth as talking. Most of Shih’s songs are created specifically for kids and are deeply loved by them. The Holo children’s songs by Chien Shang-jen are similarly large in number. Besides emphasizing that a tune should be in harmony with a lyric tone, Chien has been making great efforts to pass down native music of Taiwan to future generations. In addition to Kung(宮) and Yu(羽) modes, he has also composed children’s songs in Zhi(徵) mode. In short, the Holo children’s songs created by these three musicians have been beneficial and have made a valuable contribution to children’s music education, the fields of arts and humanities, as well as native language teaching.
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台灣兒歌, 台灣福佬系兒歌, 張弦文, 施福珍, 簡上仁, Taiwanese Children’s songs, Holo Children’s songs, Chang Hsuan-wen, Shih Fu-chen, Chien Shang-jen
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