閩客潮箏曲《出水蓮》的地緣背景及演奏流變：以張學海、饒寧新、林毛根三個演奏版本為例

張儷瓊。〈閩客潮箏曲《出水蓮》的地緣背景及演奏流變：以張學海、饒寧新、林毛根三個演奏版本為例〉。《民俗曲藝》194 (2016.12): 53-112。

Chang Li-chiung. "The Geo-relational Background and Performance Variations of the Piece “Lotus” in Minnan, Hakka, and Chaozhou Zheng Music: On the Three Versions of Zhang Xuehai, Rao Ningxin, and Lin Maogen." Journal of Chinese Ritual, Theatre and Folklore 194 (2016.12): 53-112.

Abstract

閩南粵東之境的箏樂傳統包括了福建箏樂、客家箏樂、潮州箏樂三個箏樂脈絡，簡稱為閩南箏派（閩南箏）、客家箏派（客家箏）及潮州箏派（潮州箏）。整體而言三個箏派體系傳承的曲目互有重疊；在演奏風格上，閩南箏樂清麗簡約，客家箏樂典雅樸質，潮州箏樂旖旎婉轉。實際上三者在演奏手法、造句語彙方面則各有特色。本文以閩客潮《出水蓮》為例，探討三個箏派的同一曲目在形質表現上的異同點，並在地緣與音景環境之下分析閩客潮三個演奏版本的同質與流變。研究發現，特殊的地緣關係構成了閩客潮箏樂的音景，閩客潮三個箏派演奏手法的特點、用韻形質的不同，尤其是左手作韻技法的異質特徵，是區別箏派音樂風格最重要的因素。閩粵交界之境的生活地緣相近，民系之間的文化交流使得曲目充分產生借鑒和融合。不同民系的語言和習慣則使得演奏細節和審美意趣互有異質，構成一番似同若異的區域箏樂音象景況。

In the bordering area between South Fujian and East Guang­dong, there are three primary zheng schools, representing respectively the Minnan, Hakka, and Chaozhou’s cultural traditions. Generally speaking, the repertoire of these three zheng schools overlap. In terms of their stylistic features, Minnan zheng music is mainly characterized by its clarity. Hakka zheng music is often interpreted as classic and elegant. Chaozhou zheng music is well-known for its embellishments and refined subtlety. The stylistic features of the three zheng schools are inferred from their unique performing skills as well as characteristic musical vocabularies. This article aims to investigate three versions of “Lotus” from Minnan, Hakka, and Chaozhou zheng music in an attempt to discuss the similarities and diversities based on the geo-relations and the melodic contours. The study indicates the fact that the special geo-relation of South Fujian and East Guangdong helped form distinct melodic contours in this area. The performance techniques, especially the sliding and pressing techniques of left hand fingers, is the most decisive factor in determining the stylistic features of the three zheng schools. Due to the similar geo-relational circumstances of this area and the cultural interactions between ethnic groups, there had been sufficient integration between repertoires of zheng music. On the other hand, different linguistic background and customs brought about distinct instrumental details and aesthetics. Ultimately, there exists both similarity and diversity of the melodic contours among Minnan, Hakka, and Chaozhou zheng Music.

Also in Journal of Chinese Ritual, Theatre and Folklore:

張儷瓊。〈客潮二派箏樂小曲之形質流變〉。《民俗曲藝》184 (2014.6): 155-227。

Chang Li-chiung. “A Research on the Form and Character of Zheng Folk Tunes in Hakka and Chaozhou Music.” Journal of Chinese Ritual, Theatre and Folklore 184 (2014.6): 155-227.

http://ritualtheatreandfolkloreat.blogspot.tw/2014/08/blog-post_25.html

張儷瓊。〈客家「串調」箏曲之研究〉。《民俗曲藝》175 (2012.3): 43-88。
Chang Li-chiung. "A Study of Hakka Zheng Music Chuandiao." Journal of Chinese Ritual, Theatre and Folklore 175 (2012.3): 43-88.
http://ritualtheatreandfolkloreat.blogspot.tw/2012/03/blog-post_29.html

張儷瓊。〈從「以箏托腔」到「器寫人聲」：論河南箏樂對曲劇音樂之吸收與借鑑〉。《民俗曲藝》170 (2010.12): 177-231。

Chang Li-chiung. “From Accompaniment to Vocal Imitation: The Adaptation and Application of Quju Music in Henan Zheng Music.” Journal of Chinese Ritual, Theatre and Folklore 170 (2010.12): 177-231.

http://ritualtheatreandfolkloreat.blogspot.tw/2010/12/blog-post_27.html