「神明的匠師」在台灣-現存北管樂器製作紀錄片

Abstract

《神明的匠師》是一部關於北管樂器製作的紀錄片，北管樂器製作匠師又被稱為神明的匠師。 北管文化根源於中國大陸，相傳清乾隆（西元1736-1795）～嘉慶（西元1796-1820）年間由中國大陸移民傳入臺灣，融入當地社會的習俗，影響擴及布袋戲、傀儡戲、歌仔戲、道教科儀的後場音樂以及客家八音。任何迎神賽會、歲時節慶都可聽見北管音樂，屬臺灣發展最蓬勃的傳統音樂之一，樂曲種類多樣，廣泛分佈於各地，又可稱為臺灣早期的流行音樂，至今已有200多年歷史。 對先民來說，北管戲曲無論在酬神、娛樂方面都扮演著舉足輕重的角色。北管音樂中的鑼、鼓、鈸及嗩吶所產生明亮高亢、熱鬧的音色，在早期農業社會中，搭配神明遶境的遊行，或是起兵交戰的戲劇，立刻吸引左鄰右社前來觀看，因此北管音樂在民間戲曲和祭祀儀禮上，扮演著相當重要的角色，因此影響北管音樂音色、音準的北管樂器製作匠師就扮演著相當重要的幕後推手。 儘管如此，除了少數學術論文以及公視製作之薪傳系列紀錄片之外，鮮少有專注於北管樂器製作的相關書籍與影片，然而樂器被賦予著音樂文化傳承的使命，應該被重視。所以本文以「神明的匠師」為主題，以紀錄片形式的拍攝手法紀錄北管「牌子」樂器的製作及其脈絡，採訪徐文樟、八音王陳建誠、响仁和鐘鼓廠王錫坤、林午銅鑼林烈旗等匠師，並且於梨春園、保安宮、雞籠中元祭、慈惠宮保民繞境等活動拍攝北管音樂演奏，欲顯示現存北管樂器製作的現況及北管音樂的應用場合。“God’s craftsmen” is a documentary about Beiguan instruments. Craftmen who make Beiguan instruments are called God’s Craftsmen. The “Beiguan” culture roots China, it was introduced into Taiwan by Chinese immigrants in 17c.. It has prevalently immersed into Taiwan social society and influenced its culture, which includes Hakka Bayin Music and the backcourt music of Taiwan Glove Puppet, String Puppet Show, Taiwanese Opera and Taoist Rituals. One could hear the Beiguan music during the religious ceremonies and traditional festivals everywhere in Taiwan. Being one of the most developed traditional music in Taiwan, Beiguan has diverse species and spreads widely in Taiwan. With 200-year history, Beiguan was the pop music and background music of Taiwan in the early age. For ancestors, “Beiguan” play the important role in thanksgiving and entertainment. Combined with the pilgrimage activities or military dramas, the bright sound of Gong, Drum, Cymbals and Suona draw attentions of the people around the villages to the shows in the early age. Therefore, the craftsmen of the Beiguan instruments play important roles since they could influments the timbre and pitch of Beiguan instruments. However, there are rarely related books and videos introducing the production of Beiguan instruments, expect a few academic papers and the documentary series “Legacy” made by Chinese Public Television. The musical instrument was given the mission of cultural heritage, they should be valued. Therefore, I use “God’s craftsman” as the theme for this study. I made a documentary, recording the manufacture of Beiguan instruments, the interviews of Beiguan masters (including Wen-Chang Hsu, “Baying King” Jian-Cheng Chen, “Xian Jen Ho” Shi-Qun Wong, and “LingWu gong” Lie-Chi Lin) and the pilgrimage activities of “Li Chuen Yuan“, “Dalongdong Bao'an Temple”, “Jilong Mid-summer Ghost Festival”, and “Sung Shan Tsu Huei Temple”. The documentary helps people understand the current situations of manufacture of traditional music instruments and the occasions where the Beiguan music is applied.