臺灣傳統擊樂探討與自我音樂創作之實踐

Abstract

臺灣傳統音樂中的北管音樂，在臺灣有著舉足輕重的地位，出現在臺灣各大廟會慶典或婚喪喜慶當中，貼近臺灣人民的日常生活，但熟悉臺灣傳統音樂的民眾卻少之又少，臺灣傳統音樂發展歷史悠久，大致上可分為兩大體系，北管音樂及南管音樂，北管音樂泛指南音(管)以外傳入臺灣的統稱為北管音樂，而北管音樂裡有鑼鼓樂、鼓吹樂、唱腔及崑曲(細曲)，戲曲則分為亂彈戲、古路戲、新路戲、扮仙戲。在1960年代之前，亂彈戲班演出的戲曲為北管的戲曲，因北管鑼鼓樂及鼓吹樂較為熱烈、激昂，故被引用為熱鬧場合所使用的樂隊。 本文共分為：第一章緒論，說明研究動機目的、文獻探討與回顧、研究範圍與架構及名詞釋義，第二章擊樂在北管音樂中的應用，因北管音樂後場及平劇的鑼鼓點發展相似，故筆者將平劇中的鑼鼓點與北管音樂的探討一同研究、分析，第三節北管音樂中的擊樂探討，並詮釋北管音樂中鑼鼓樂的發展脈絡與實踐。第三章筆者選取臺灣作曲家柯芳隆、賴德和、潘皇龍、許常惠之作品中，擊樂或引用傳統音樂中的素材加以分析與探討，第四章筆者將本文所探討之北管音樂中的打擊樂作品透過前述作品的分析，並應用於自我作品的實踐。 從本研究中，筆者試圖了解打擊樂在平劇、北管中的應用，加強筆者對擊樂創作的技巧，亦能將傳統音樂與現代作曲手法相互結合，為本論文之重點。Bei-Guan Music in Taiwan's traditional music has a pivotal status in Taiwan. It appears in major temple fairs or weddings and funerals in Taiwan, and is close to the daily life of Taiwanese people. However, there are very few people who know Taiwan's traditional music. Taiwan Traditional music development has a long history, and can be roughly divided into two major systems. Bei-Guan Music and Nan-Guan Music, Bei-Guan Music, pan-tone sound (tube), which are introduced into Taiwan are collectively called Bei-Guan Music, and there are gongs and drums in the Bei-Guan instrumental music. Music, advocacy, aria, and Kunqu (fine music), the opera is divided into random play, ancient road opera, new road opera, immortal opera. Before the 1960s, the drama of the random play class was the opera of the Bei-Guan. Because the gongs and drums and drumming of the Bei-Guan were more enthusiastic and exciting, it was cited as a band for lively occasions.

This article is divided into: the first chapter introduction, explaining the motivation of the research, the literature discussion and review, the research scope and structure, and the definition of terms; the second chapter is the application of percussion in Bei-Guan music, because The development of percussion music and percussion is similar. Therefore, the author will study and analyze the percussion music and percussion in the Bei-Guan Music together. The percussion musicin and percussion in the third section will discuss percussion music in percussion. In chapter three, the author selects percussion music from Taiwan composers' works or quotes materials from Taiwan’s traditional music for analysis and discussion. In chapter four, the author applies percussion music in the Bei-Guan Music discussed in this article and applies it to his own works. Hopelly I can mention the students' passion for Taiwan’s traditional music.

From this study, the author tries to understand the application of percussion in Ping-Ju and Bei-Guan, strengthens the author's skills in percussion, and can combine Taiwan’s traditional music with modern composition techniques, which is the focus of this thesis.