呂錘寬李婉淳2019-09-052005-1-312019-09-052005http://etds.lib.ntnu.edu.tw/cgi-bin/gs32/gsweb.cgi?o=dstdcdr&s=id=%22N2005000156%22.&%22.id.&http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/107139摘 要 本論文主要建立在實地田野調查的基礎上，訪問參與演出的藝師們，並將資料蒐集，經處理如以下的架構呈現： 緒 論 對台灣皮影戲的背景做一說明，包括分布情形、演出概況等方面；亦回顧皮影戲等相關研究，說明皮影戲之潮調音樂內容，及交待本文之研究範圍。 第一章 皮影戲戲團之劇目對照，抄本的異與同比較；再根據內容題材，溯其劇本淵源。 第二章 在前場及後場的架構下，分別呈述皮影戲音樂的使用概況，描述音樂的組成要素—鼓介、唱腔、過場樂，後場樂器的使用、藝師的養成訓練等；著重於皮影戲唱腔音樂的曲譜呈現，以紀錄唱腔旋律之原貌。 第三章 取皮影戲同名曲牌之特性，與「南北曲」、「崑曲」、「南管曲」做一比較，依循唱詞之句法結構、相對應之曲調旋律，探究兩者的相似程度，是有其相關性的延伸發揚，或是毫無相似的同名異曲。 結 論 歸納皮影戲音樂之特色。並交代此次的研究重點，在於音樂曲譜的呈現，及研究過程中的囿限之處。Abstract The development of shadow play has lived around two hundreds years in Taiwan. Most of lived shadow play troupes are in Kaoshiung Contry including. The government established the museum of shadow play and hold lots of performance in order to preserve the unusual and traditional culture treasury. It’s important to value it through them. However, there are some theses to discuss about shadow play in Taiwan. But no ones discuss the topic music about it. This thesis focuses the topic “Music of shadow play.” The basic of this thesis is on fieldworks. The chapter arrangement o f this thesis is as follows. The first chapter is to review the repertory of shadow play. However, every troupe has its manuscripts. They are different between the same repertories of every troupe. The second chapter is to describe what music of shadow play is. It is made up of “percussion music”, “singing-style” and “instrumental.” The key point emphasizes on the transcriptions from fieldworks. It will be clear to know the musical style thought them. Besides, there is a structural analysis of them. The third chapter is to a comparative analysis between Nan-Pei Chu, Kun Chu, Nakuan Chu and shadow play with a study on the melodic pattern of the same titles. It is to compare what relationship they are between them. Finally, three points in conclusion are listed as follows. First, they are various in the source materials of repertory in shadow plays Then, it is productive in the melodic pattern of shadow plays. Last, the Ch’ao-tiao singing style is individual to shadow plays. With performances diminishingly, it’s not easy to listen songs of productive melodic patterns. Thus, the contribution of this thesis is to present what the songs are through transcriptions. It can be clearer to show what music of shadow play is through them. It can make readers know it clearly.皮影戲潮調音樂唱腔曲牌採譜南北曲崑曲南管曲shadow playCh’ao-tiao Musicsinging stylemelodic patterntranscriptionNan-Pei ChuKun ChuNakuan Chu