| 摘要: | 組成「京劇」其中很重要的一部份為「音樂」，而音樂是以唱腔、念白、曲牌以及「京劇鑼鼓」四個部份所構成，彼此關係相當密切，缺一不可。此次針對京劇音樂中之京劇鑼鼓的部份做研究，因京劇鑼鼓在京劇音樂中有著相當重要的領導作用，對於全劇每個環節的銜接與全劇氣氛的渲染等等，都有相當大的重要性，因此將京劇鑼鼓與中國打擊樂曲之運用作為此篇論文的主要研究方向。
筆者將此次研究之作品為：李民雄根據京劇曲牌改編，王建華鼓段設計之《夜深沉》；李慧排鼓段編配、呂永輝京劇鑼鼓編配之《鬧天宮》，以及香港中樂團助理敲擊樂首席錢國偉作曲之《劇‧擊》，並以這三首擊樂作品為例，來探討京劇鑼鼓在中國打擊樂曲中的運用，再從這些樂曲與京劇鑼鼓之間的關聯做深入了解，進而論述作品的演奏詮釋。
本文共分為：第一章、緒論，包括研究動機、研究目的、研究範圍、以及研究方法；第二章、京劇鑼鼓之簡介，介紹其歷史沿革和樂器特色；第三章、分析在《夜深沉》、《鬧天宮》、《劇‧擊》三首樂曲中，京劇鑼鼓點如何被運用在排鼓與大鼓的演奏上；第四章、此三首樂曲之演奏詮釋；最後為本論文之結論。
從本研究中，筆者試圖了解京劇鑼鼓點在排鼓與大鼓上如何設計與運用，希望有助於演奏者在樂曲詮釋上有更好的掌握，並希望能提供作為作曲家們未來在創作中國打擊樂曲上作參考。
The most important element in Beijing Opera is music, and the music consists of four closely linked and inseparable parts: music for voice, recitative, tunes (qu-pai) and Beijing opera percussion. The study especially emphasizes on the percussion part for it plays a leading and crucial character in Beijing opera music concerning the development of a plot, the atmosphere of a play and so on. Besides, while studying the Chinese perfusion, the researcher also found out the closed tie between Beijing opera percussion and Chinese percussion. Therefore, this paper focused the main research direction on the application of Beijing opera percussion into Chinese percussion music.
Three pieces are discussed in the study: 1, Ye Shen Chen, adapted by Li Min-Xiong from Beijing opera with arrangement of drums by Wang Jian-Hua; 2, Nao Tien Gong, drum set arranged by Li Hui and Beijing opera percussion arranged by Lu Yung-Hui; 3, the Ju Ji ,composed by Chin Kwok-wai, the assistant principal percussionist of Hong Kong Chinese Orchestra. The study took these three pieces as examples to analyze the application of Beijing opera percussion into Chinese percussion, and further probe into the connection between these pieces and Beijing opera percussion to construct personal performing interpretation.
The study consists of five chapters: Chapter One, preface, including the research motive, research purpose, scope of study and the research methods. Chapter Two is the introduction of Beijing opera percussion,including its history, development and instrumental characteristics. Chapter Three deals with the analysis of how the Beijing opera percussive is applied into the performance of drum set and Chinese bass drum in Ye Shen Chen, Nao Tien Gong and Ju Ji. Chapter Four concerns the performing practices of the three works and Chapter Five is the conclusion.
Through this study, the researcher tries to figure out how to apply Beijing opera percussion in the drum set and Chinese bass drum, and hope it will be helpful for both performers and composers in this field. |
