潮州弦詩樂十大套二弦變化手法研究

Abstract

本論文以潮州弦詩樂中的十大套為研究對象，試圖重新審視前人已建構的龐大體系及既有之定論。十大套可分為兩種不同調式：五套輕三六調和五套重三六調。每一套均包含三個段落。對於潮樂十首套曲進行歷史追溯後，可見十首樂曲發展成潮樂前的原曲調，分為有琴曲三首、曲牌三首、詞牌一首、琵琶曲、古箏曲各一首及出自《絃索備考》的重奏曲一首。這些樂曲經過歷代潮樂樂師的演繹，進而形塑今日潮樂樂曲風格。潮州弦詩樂在實際演奏上，不同板式的板眼與強弱關係，並非呈現強、弱、次強、弱的重音規律。分析輕三六調與重三六調之樂曲強拍出現位置，明顯可見輕三六調及重三六調，以三音Eb及六音Bb使用比例，突出調式風格的差異。輕三六調五首套曲，為五聲音階組合，重三六調五首套曲，為七聲音階組合。十大套樂曲可見有三個變化位置，一變出現於頭板或二板、二變於拷打與三變於催。一變以骨幹音進行加花，豐富了旋律。由旋律擴張手法更可分出重複、變化及音域改變等手法，使樂句擴張成樂段。另經由一變旋律擴張手法，每一套樂曲可劃分成五段，而十大套均結束在宮音。樂曲中的樂段轉換，則是因為每段句尾未回到宮音，旋律才得以繼續延伸。二變與三變，是由頭板或二板轉換至拷打及三板時，利用四種旋律簡化手法。簡化後的三板以催奏演奏時，稱為催奏花音，具有五種的音高改變方式。節奏變化的規則中，可歸納出五種常用的拷打節奏組合。催以每拍演奏不同數量音符為基礎，可整理出二個至八個音符數量的基礎變化。透過本研究，可發現樂譜、理論與實際演奏之間，並無法劃上等號。實際演奏的聲響與演奏者的生活語境與喜好等各個面相，是息息相關的，實際演奏呈現了比理論和樂譜更豐富的樣貌與活力。

This thesis takes ten suites of Chaozhou Xianshi Music as the research object, trying to re-examine the system constructed by pioneers and their previous research results.The ten suites can be divided into two different modes. Each suite contains three paragraphs. After tracing the history of the ten suites of Chaozhou Xianshi music, we can realize the original melody before they developing into Chaozhou Xianshi. They are composed of three qín qū, three qǔ pái, one cí pái, one music of pí pa, one music of zhēng, and one music from xián suǒbèi kǎo. These compositions have been interpreted by musicians of the past generations who form the character of today's Chaozhou Xianshi music. According to the previous researches on Chaozhou Xianshi music, we found that different bǎn yǎn of bǎn shì in Chaozhou Xianshi had been defined as western rhythm. Briefly, the music follows the rule of forte, piano, mezzo forte, and piano. However, regarding the results of the intensity test, the actual performance of Chaozhou Xianshi music does not comply with regular strength laws. Analyzing the presence of music in qīng sān liù tiáo and chóng sān liù tiáo, it is apparent that the using rate of third tone Eb and sixth tone Bb in qīng sān liù tiáo and chóng sān liù tiáo, which can outstand the differences among mode. We can also find the different using patterns of tone in different mode.In addition, the variations of Chaozhou Xianshi music can be summarized into three categories. First, it appears in tóu bǎn or èr bǎn. Second, it changes by kǎo dǎ, and the third differs in cuī. With the actual performance being recorded, it can be sorted out that the first variation is to add some decorative note on original pitch to enrich the melody. Then use melody expansion techniques to expand the phrase into a musical section. All compositions can be divided into five parts, and they all end in gong yīn (tonic of traditional Chinese scale). Besides, once the melody in compositions do not go back to gong yīn in the end sentence, it will make the melody go on. The second variation and the third variation use four kind of melody simplification techniques like variations. When the musicians play the simplified third variation, which called cuī zòu huā yīn, has five ways to change its tone. We can summarize five usual measures of second variation in rhythm change rules. Finally, cuī means the musicians play different number of notes ranging from two to eight in every beat.Based on this research, it can be found that there is are gaps among music score, theory and actual performance. The actual performance is closely related to their experiences and preferences of the performer. The actual performance is richer and more flexible than what is instructed in the theory and musical scores.