| 摘要: | 江南絲竹在三百年來的發展中，因應著時代而生，從崑曲音樂及民間音樂中衍生出來，原本是具有其社會功能性的，例如節慶演出、生活娛樂性等等。而富有創意的民間藝人們，日常生活常常浸淫在江南絲竹音樂中，每次的演奏，彼此的默契搭配，逐漸形成了許多經典曲目，筆者此次研究的江南絲竹笛子獨奏樂曲有：《朝元歌》、《歡樂歌》、《行街》、《鷓鴣飛》(陸春齡演奏版本)。這四首樂曲中，有著具代表性的技巧，配合竹笛甜美音色，表現出江南的風土民情，悠閒、歡愉、太平盛世的景態。其中，最值得鑽研的部份為「音色」、崑曲伴奏中所呈現的委婉「唱腔」以及民間藝人自由變化的「加花」手法與「即興」特質。筆者在江南絲竹中體會到的，是內斂中適時帶有穩重飽滿，強而不躁、弱而不虛，圓潤共鳴中體現個人哲學與思想，而使命感也驅使著筆者，傳統音樂人所應繼承的美學內涵，期望能在此研究中有所斬獲。
In 300 years' development, Jiang Nan Si Zhu, which derived from Kun Opera and folk music, emerged in response to the times. Initially, it had its social functions, such as performances on festivals and recreation in living. The creative folk artists often indulged themselves in Jiang Nan Si Zhu music in their daily life. they coordinated with one another with mutual and wordless understanding in each performance; as a result, many classic songs were gradually generated. In this research, the author focused on bamboo flute solos in Jiang Nan Si Zhu music, including ：《Chao Yuan Ge》,《Huan Le Ge》,《Xing Jie》 and 《Zhe Gu Fei》. These four songs were composed by representative skills along with the sweet and beautiful tone of the bamboo flute, expressing the folk air and customs in Jiang Nan and the easy, agreeable state in an Age of Peace and Prosperity. Among the musical techniques, "tone", the euphemistic "aria" in Kun Opera's accompaniment, the "elaboration" skill operated freely by the folk artists, and the "impromptu" characteristic are worthy of our exploration. As far as the author is concerned, what he perceives in Jiang Nan Si Zhu is the moderate stableness and fullness in a reserved sense, powerful yet not aggressive, tender yet not weak. The mellow tone arouses sympathy in heart, demonstrating not only the personal philosophy and thought, but also a sense of mission burning inside the author. It is expected that the aesthetic quality a traditional musical professional should inherit can be extracted and presented in this study. |
