[[alternative]]A Case Study of Musical Instrument Production--The Design and Interpretation of Erhu Music

[[abstract]] 在經過慢慢的歷史長河中，人類文明在不同階段，對於音樂的審美品味都有所不同，而不同的審美品味則會影響時代的藝術創作與設計理念，本文通過對呂建華製琴師深入的個人誌田野工作，試圖了解臺灣當代對二胡音樂詮釋的審美認知與品味。通過長時間的參與觀察與深入訪談，筆者了解呂建華師傅對於製琴熱忱與對樂器改革持續不懈的精神；透過問卷調查的發放，獲取的一般民眾與二胡演奏家對自身樂器的了解情況與對音樂、音色的追求方式，大多還是處於懞懂的階段，對於如何購買一把自己所使用的樂器，大多還是聽從師長的建議；通過臺灣大專院校音樂系教授、職業樂團首席演奏家的田野訪談，明白他們對於自身樂器的理解之後，對於自己想要怎樣的音色清楚定位，他們需要二胡不同把位的音量平均且大，音色甜美不失厚實，樂器反應靈敏度高，對於樂器音色與對音樂審美的這些要求，讓他們選擇了呂建華師傅所製作的二胡。但由於呂氏二胡屬於北方琴，對於長期習慣南方琴的台灣演奏家來說，雖然呂氏二胡有許多強大的優勢，但在音色上仍有無法配合之處，所以許多演奏家通過調整二胡的各個小部位，如：琴碼、千斤、墊布、琴弦，通過更換這些配件，達到保有呂氏二胡原有的優勢又能夠符合自身對音色的審美要求，呂建華師傅也為因應這樣的情況，持續與台灣演奏家進行合作，改良北方琴，嘗試不同形制的琴筒與蒙皮技術。演奏家與製琴師之間的良性對話，還在樂器改革的路上持續進行。[[abstract]] In the long history of mankind, human civilization at different stages also shows different aesthetic tastes for music. Different aesthetic tastes will affect contemporary art creations and design concepts. This study conducts an in-depth fieldwork on the personal notes of the violin-maker (Chien-Hua Lu) and attempts to understand Taiwan's contemporary perceptions and aesthetic tastes for the Erhu Music. Through long-term participatory observations and in-depth interviews, the author understands Master Chien-Hua Lu's spirit of enthusiasm for violin-making and the continuous reform of the musical instruments. Through the distribution of survey questionnaires, it is known that the general public and the erhu performers are still mostly bewildered about their musical instruments and their pursuits for the music styles and tones. Most still take advice from their teachers and masters when it comes to buying their own musical instruments. Through the fieldwork, professors working for the Department of Music in different universities and colleges in Taiwan and principal performers in professional orchestras can now know more about their instruments, and they have a clear understanding of what tones they want. They need to set different hand positions on the erhu, and they need larger volumes and sweet thick tones. The instruments must have a higher reaction sensitivity. Those requirements for the tones of musical instruments and music aesthetics made them choose the erhu made by Master Chien-Hua Lu. However, as Lu's erhu is a violin from the Northern China, for Taiwan performers that are used to the violin from the Southern China over the long term, though Lu's erhu exhibits many powerful advantages, there are still some deficiencies in the tones. So, many performers have adjusted and replaced various parts and accessories of erhu, such as bridges for musical instruments, lifting jacks, cloth liners and strings, to retain original advantages of Lu's erhu and conform to their aesthetic requirements for the tones. In response to such circumstances, Master Chien-Hua Lu also continued to work with Taiwan performers on improvement to north-style erhu by trying the sound boxes in different forms/shapes and skinning techniques. The benign dialogue between the performer and the violin maker will continue on the road to musical instrument reform