「寶島低音歌王」之路：洪一峰創作與混血歌曲之探討

Abstract

本研究主要回到「音樂人在環境中的互動與其作品產出」的觀點開始，藉由台語流行歌曲作曲家與演唱家洪一峰(1927-2010)之生命史與作品分析，重新審視目前學界對於台語流行歌曲研究之論述 ─戰後台語流行歌曲是以改編歌詞翻唱日曲之「混血歌」做為大宗、混血歌的存在扼殺了台語流行歌曲的創作能量、臺語流行歌曲充斥著濃厚的日本風味，等諸多論述。因此本研究以「音樂人」的個案研究，根據黑膠唱片資料、收錄1950-1970台語流行歌曲之歌本、洪一峰相關友人之訪談資料，以及洪一峰相關報導、文章，並且以Andrew Jones所提出之「媒介迴路」的宏觀角度，試圖交織出洪一峰在其音樂生命史達到極盛時期之1950-1970年代與「台北流行音樂三市街」之互動。透過音樂文本與社會情境交互參照，發現洪一峰其創作歌曲數量與翻唱歌曲有同等比重。這樣的現象呈現在過往論述台語流行歌曲時，以「混血歌」作為出發點可能造成的死角：忽略可以從「個案」，去探索「音樂人」在大環境的架構下如何因應的可能性。另外，同時作為一名演唱者的洪一峰，也利用創作歌曲進行在個人演唱特質，即「低音」演唱的塑造，而這種個人特質的自我發現，卻是經由演唱混血、創作歌曲之下而完成的。在確立「低音歌王」稱號之後，洪一峰替台灣歌謠開闢另一條「低音」聆聽的音樂品味，也就是說，以洪一峰為例，作為媒介迴路下產生的混血歌實則為台灣歌謠創造力的養分。

Past discussions on 1950-1970’s Taiwanese popular songs were often related to “the meaning of producing mixed-blood songs,” and some related issues such as blaming mixed-blood songs which were covered from Japanese songs for Taiwanese popular song’s decline, or taking as for granted that Taiwanese popular songs were filled with Japanese flavour. However, taking Hung, Yi-Feng’s genre for example, there are both mix-blood songs and his own compositions, which is contradictory to the past discourse on Taiwanese popular music. Therefore, the importance of research on the individual musician could not be ignored.This research re-exams the discourse on “the historical meaning of Taiwanese popular songs”through the case study of the music work and life of a Taiwanese popular bass singer, Hung,Yi-Feng (1927-2010). By gathering LP recordings, 1950-1970’s song books, related newspaper articles, and information from related person by interview, I would re-construct the historical context of Taiwanese popular songs and the transmission of Hung ,Yi-Feng’s music with the perspective of Andrew Jone’s “media-loop”. This research found that, Hung,Yi Feng’s compositions make up the same ration as his mix-blood songs, and this result shows that Taiwanese popular song’s genre not only consisted of “mix-blood songs” but also musician’s compositions. In addition, Hung, Yi-Feng also made use of his bass singing characteristics in his performance by singing “mix-blood songs” and his compositions. After obtaining the title of “the best bass singer,” Hung, Yi-Feng’s bass singing became the audience’s best choice through his music’s circulation in the media loop. That is to say, “mix-blood songs” and “compositional songs” both provide nutrients to Taiwanese popular songs in the case study to Hung’s music.