閩南粵東箏樂文化的區域研究 : 閩客潮箏樂小曲的同質與流變
中文摘要
閩南、粵東地區閩客潮三個民系各自流傳著古樂合奏、客家漢樂及潮州音樂等地方樂種，閩南箏樂、客家箏樂、潮州箏樂流播其間，立基於民間樂種而獨立發展，三者淵源相似、型態相近。本書研究閩客潮箏樂小曲的形質樣貌與流變現狀，探討跨域的箏樂人文交流及其所衍生的區域性箏樂藝術特點。文中對於眾多閩客潮箏樂小曲一一探勘梳理，展開閩客潮小曲版本間的交相比較與探討，藉以還原屬於南方箏樂互涉和流變的軌跡，更進一步深入關於淵流、因果和脈絡的討論。 研究發現，箏樂小曲的流佈是閩客潮箏樂的曲目共性，其形式框架雖多有雷同，在演奏美學上仍細節紛異，擁有各自獨立的風格演繹。小曲來源多樣、應用場合多元、歷史積澱豐厚，內容既有明清俗曲的遺存、有戲曲音樂的轉介，亦有北方音樂的傳播和南方文化的在地吸收。為數眾多的閩客潮箏樂小曲是閩客潮箏樂的共有交集，透過跨域的人文交流而產生了互為相近的區域風格，表現中國南方音樂秀雅麗緻、婉約細膩的特質。閩客潮箏人各自運用特殊的運指規律、作韻特點和變奏手法，表達箏樂小曲風格化的表現，賦予了小曲各種美學意趣。這使得同一首箏樂小曲，在閩南聽起來質樸明亮、清麗素雅，在客家地區聽來典雅端莊、抒情婉約，潮州箏樂小曲則顯得音韻活潑、旖妮婉轉；形成一曲多版本的演奏。 小曲是閩客潮箏樂共有的資源，骨幹雖同，特點殊異，表現了閩客潮民系音樂的共同特徵。而歷史因素、地理環境和人文背景皆促使閩客潮民系從不同的角度詮釋了小曲。閩客潮箏樂小曲的形同質異，事實上是中國南方閩南粵東地區箏樂藝術長久流播和流變的結果。這些一曲多版本的箏樂小曲演奏文本，持載著閩客潮民系共同積累的文化資源，攜帶著閩客潮人文藝術的風格內涵，著實是閩南粵東箏樂文化中不可或缺的一批重要資產。
Abstract
The Minnan, Hakka and Chaozhou groups in Minnan, Yuedong districts have respectively handed down Minnan ancient music, Hakkaese Han Music, Chaozhou Music. With the three musical genres come Minnan, Hakka and Chaozhou zheng music, grounded on folk music sharing with similar backgrounds and forms. The book focuses on the form, appearance and transition situation of Xiaoqu in Minnan, Hakka and Chaozhou zheng music, to probe into the cultural exchanges of zheng music and regional traits derived from that. The text clarified numerous Xiaoqu of Minnan, Hakka and Chaozhou zheng music in sequence, exploring version comparison among the three to restore the track of intertextuality and transition in the southern zheng music, and further deeply discussed the origin, causation and context. The research result reveals that repertories of zheng Xiaoqu among Minnan, Hakka and Chaozhou present commonness with similar structures and frames but distinct details concerning performing aesthetics, and each school possesses their own individual interpretation. Derived from diverse sources, used to applied in diverse occasions, zheng Xiaoqu have accumulated rich contents, including folk songs from MingQing dynasty, Xiqu music, music from northern area and local cultures. The zheng Xiaoqu are the intersection of Minnan, Hakka and Chaozhou zheng music, sharing similar musical traits which embodies the elegant and delicate temperament of music in southern China through cross-district cultural exchange. Zheng people from the mentioned three areas present these xiaoqu with respectively fingering rules, rhythm characteristics and variation methods, and enrich pieces with different aesthetic interest. Thus, a zheng xiaoqu can be rustic and bright in Minnan, or elegant and lyrical in Hakka, or vivid and twirling in Chaozhou area, and presents multiple interpreting versions of one very piece. Xiaoqu are the shared sources of Minnan, Hakka and Chaozhou zheng music. The shared skeleton melodies present the common traits of music among these areas, and the different historical reasons, geographic environments and cultural backgrounds of the three further contribute to distinct aspect of interpretation. The fact that zheng xiaoqu among Minnan, Hakka and Chaozhou music contain shared forms with different contents is the result of the long development and transition of zheng music in the Minnan, Yuedong district of southern China. These zheng xiaoqu with multiple versions carry with shared cultural sources accumulated by Minnan, Hakka and Chaozhou people, embody the humanistic style and content of these areas, and an essential asset of Minnan, Yuedong zheng culture.