[[alternative]]A Study of Chinese Music Musicians' Influences on Contemporary Music Development of Taiwanese Opera

[[abstract]] 從1986年「明華園歌劇團」與國樂團合作開始，國樂樂師的陸續加入，突顯了與傳統文武場的磨合問題，到了九O年代，現代劇場歌仔戲的劇藝提升，並且在兩岸戲曲的交流下，「薌劇」音樂設計的理念引進，開啟國樂樂師對台灣歌仔戲音樂設計的觀念和做法，奠定了歌仔戲音樂在其後十年間朝定腔定譜、編腔和整體音樂設計模式發展。這期間，歌仔戲的伴奏模式，從國樂團與傳統文武場的合作，到國樂樂師主導歌仔戲音樂的進行，「國樂樂師」在劇團和演員心中的地位，與過去的「傳統樂師」相較，其重要性已不同以往，國樂樂師對歌仔戲曲調音樂的新作為，對當代歌仔戲音樂發展造成哪些影響與變化，是本文探討的重點。 本文分為六章。第一章緒論：包括了研究動機與目的、研究範圍與限制、研究方法、文獻回顧和名詞釋義。第二章歌仔戲音樂與樂師角色的演化：從歌仔戲的曲調發展和伴奏組成兩部分的論述，來建立對歌仔音樂的基本認識，並且依循歌仔戲曲調的脈絡來看樂師角色的演化和職能的擴充，並兼論當代樂師與各類劇團不同的合作方式與生態現象。第三章國樂樂師參與歌仔戲伴奏的歷程：從國樂團與文武場的磨合嘗試，到國樂樂師透過研習班學習的自我提升並受到兩岸歌仔戲交流的影響，在歌仔戲音樂上的作為更逐漸擴展為全面性的音樂設計工作。國樂樂師奠定了台灣歌仔戲音樂設計的職能。第四章國樂樂師擔任歌仔戲音樂設計者舉隅：以訪談方式呈現台灣幾位音樂設計者的學習背景、創作理念、音樂設計觀與音樂編創手法。第五章國樂樂師對當代歌仔戲音樂的影響：這一章說明國樂樂師除了改良樂器型制與擴充樂隊編制和改變傳統武場的位置外，也以編腔的手法取代了由演員獨立創腔的傳統角色，開創演員的唱腔表現，提升演員的音域和音準。除此之外，國樂樂師對歌仔戲音樂的種種新作為，也引發了觀眾對歌仔戲音樂的關注。第六章結論：透過樂師角色職能的演化與國樂樂師參與伴奏歷程的脈絡呈現，以及多位音樂設計者的革新作為和影響的論述，筆者歸納出繼承、發展、影響、展望四方面，來說明國樂樂師對當代歌仔戲發展的影響。[[abstract]] Since Ming Hwa Yuan Taiwanese Opera Company started to cooperate with the Chinese orchestra, the problem of how the participation of Chinese music musicians goes with “Wen-wu Chang (the traditional troupe band)” has emerged. In the 90s, the importing concept of “music design” from “Xiang Ju” as well as the advance in performance art have stimulated Chinese music musicians to set foot in and laid the foundation for Taiwanese Opera’s integrated music design. During the decade, the pattern of accompanying has gradually changed from cooperation between Chinese orchestras and “Wen-wu Chang” to Chinese music musicians’ conducting the flow of music. The importance of the Chinese music musicians have greatly elevated. Therefore, the study focuses on what influence and variation they have brought to the music of Taiwanese Opera. The study includes six chapters. Chapter One, the Introduction, accounts for the studying motive, goal, research range and limit, approaches, term-definition, and the paper review. Chapter Two covers the evolution of Taiwanese Opera’s music and musicians. The development of its tunes and accompaniment are elaborated to be background knowledge on Taiwanese Opera’s music. And from the tune development, we can also find how the roles of musicians evolve, so as to know how contemporary musicians work with different types of troupes. Chapter Three relates to the process of how Chinese music musicians accompany Taiwanese Opera plays: how they try to work with “Wen-wu Chang”, how they join workshops to promote their own skills, and under the impacts of cross-strait cultural exchange, how they come to lay the basis for being music designers for Taiwanese Opera. Followingly, Chapter Four will introduce some representative Chinese music musicians undertaking designing music for Taiwanese Opera plays. Interviews are the approach to present their learning background, and thoughts about their invention and music design. Not only do those musicians reform the instruments, expand the troupe band organization, and shift the layout of “Wen-wu Chang”, they also further take advantage of music design to refine performers’ singing performance, which was previously mostly performers’ own responsibility. Chapter Five indicates these contributions, which surely call much more attention of the audience to the music of Taiwanese Opera. As the conclusion, based on the evolution of musicians’ roles and their accompanying experiences, the final chapter will comprehensively discuss how traditional Chinese music musicians affect the contemporary development of Taiwanese Opera in four aspects—the inheritance, development, impacts, and future perspectives