電視調對台灣歌仔戲曲調運用的研究

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題名:	電視調對台灣歌仔戲曲調運用的研究
其他題名:	A Study about the Application of ＂TV Tune＂ in Taiwanese Opera
作者:	柯銘峰 Ke, Ming-feng
貢獻者:	美學與藝術管理研究所蔡欣欣;陳國寧 Hsin-hsin Tsai;Kuo-ning Chen
關鍵詞:	電視調;電視歌仔戲;新調;卡拉;曾仲影 TV tunes;TV Taiwanese Opera;New Tunes;Kara;Tzeng Zhong-ying
日期:	2006
上傳時間:	2015-08-04 11:27:42 (UTC+8)
摘要:	表演場域的轉移對歌仔戲表演內涵有決定性的影響，在以商業電視為歌仔戲發展重心的1970年代開始，凝聚了現代歌仔戲觀眾最為強烈的印象，而專為電視歌仔戲所創作的「電視調」正是影響力最深最廣的產物。現行台灣歌仔戲是以曲調聯綴方式做為唱腔安排的主要手法，屬於「新調」類的曲調就佔了二分之一強，且大部分來自於電視歌仔戲時期的「電視調」。百年來，雛型時期質樸的「落地掃」表演型態，相對於現代繁複龐大的歌仔戲製作，面貌截然不同，其中固有所謂「傳統」的延續與保留，但電視歌仔戲的產生，卻是對現代歌仔戲起著最大的發酵作用。　　　本論文討論電視調對台灣歌仔戲曲調運用之研究，除了它對現代歌仔戲音樂內容形式的影響，也包括與音樂相關聯的表演程式、導演手法和唱腔唱法，而「人」則是牽引著這個時期音樂變革的主導因素。自喻其電視調創作歷程和成果是「無心插柳柳成蔭」的曾仲影，和創發歌仔戲「卡拉」錄音形式的陳聰明，是電視歌仔戲時期重要的代表人物；陳聰明將曾仲影電視調作品發揮最大的運用效益，曾仲影則將是陳聰明的創意想像轉為具體。電視調對現代歌仔戲音樂曲調運用的影響，包含了創作的內在思考和作品實際運用兩個部分，本論文探討由電視歌仔戲新調創作衍生出的影響或問題，也從電視調的基本創作思想為出發，打破電視歌仔戲長年帶給觀眾的桎梏認知，提供現代歌仔戲在音樂曲調創作上的思考和借鑑。　　The shift in performing arenas has a crucial influence on the performing contents of Taiwanese Opera. Since the 1970s when Taiwanese Opera focused its development on commercial TV programs, the contemporary viewers have associated them mostly with Taiwanese Opera, and the ＂TV tunes＂ composed specifically for ＂TV Taiwanese Opera＂ are exactly the most influential products of this stage. Currently, Taiwanese Opera’s singing arrangement is mainly made by adjoining tunes and melodies together, in which the ＂new tunes＂, especially ＂TV tunes＂ from this period of TV Taiwanese Opera, take more than half the proportion. For about a century, the performing styles, from the embryo ＂Luo-di-sau (form of playing directly on the open ground without erecting a platform or stage)＂ to the integrated tremendous complicated productions nowadays, have evolved many distinct facets. Among them surely are the reservation of traditional essences; however, the formation of TV Taiwanese Opera undoubtedly affects contemporary Taiwanese Opera the most.　　　This study explores how Taiwanese Opera makes use of TV tunes, ranging from their influence on the form of contemporary Taiwanese Opera music, their impacts on music-related performing patters, to directors' directing manner and performers' singing styles. Participants as a whole become the dominating factor in this music reformation. Tzeng Zhong-ying and Chen Tsong-ming are two prominent figures during Taiwanese Opera's TV period; the former said that his experience and achievement of TV tunes were totally unintentional while the latter initiated the ＂kara＂ recording method for Taiwanese Opera. As Chen exerted Tzeng's TV-tune works to the fullest, Tzeng made Chen’s ideas and imaginations come true. The inner thoughts of invention and the practical application are two main parts in which TV tunes affect contemporary Taiwanese Opera music. Apart from the influences and problems derived from the creation of TV tunes, this study also tries to take the inventing ideas of TV tunes as a basis to overthrow the stereotypes TV Taiwanese Opera has brought to the viewers, so as to offer experiences and ignite some thoughts for composing new tunes for contemporary Taiwanese Opera.
顯示於類別:	[視覺藝術與設計學系] 博碩士論文

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