共鳴的編織： 現代阿卡貝拉聲音產製中的和諧感知

Abstract

本研究探討現代阿卡貝拉（Contemporary A Cappella）訓練體系中，歌者如何透過聲音實作、身體感知、教學語言與群體互動，逐步建立對「共鳴」與「和諧」的理解。本文以「共鳴的編織」作為核心隱喻，指出現代阿卡貝拉的聲音訓練並非單純的技巧傳授，或歌者各自完成的內在技術，而是在教師、歌者、團員、排練空間與展演條件之間反覆互動、修正與協商的過程中逐步形成。相較於將共鳴理解為個體身體內部的生理效果，或將和諧視為音準與和聲的技術結果，本文強調二者皆是在具體訓練與排練現場中被感知、命名、調整與維持的關係性實作。 研究方法上，本文以歐開合唱團葉微真老師之歌唱課程為主要田野，透過參與觀察、課程紀錄與半結構式訪談，分析一對一聲音課中語言比喻、手勢、觸碰、身體操作與聲音示範如何共同引導學生建立共鳴感知。本文進一步將課堂中反覆出現的教學語言歸納為四種感知聯想：音高感知聯想、腔體使用聯想、身體施力聯想，以及整合性的比喻牽引與詮釋聯想，說明「往前送」、「掛高」、「打開」、「不要掉下來」、「擠住」等語彙如何將抽象的聲音要求轉化為可被想像、感受與操作的身體經驗。同時，本文亦以筆者於「斑馬線人聲樂團」（2020–2024）及「斑馬線流行合唱團」（2024–至今）的參與經驗，以及歌唱指導、配唱經驗與和聲協作等延伸田野為材料，探討個人聲音訓練中形成的感知方式，如何在團體排練、選曲實作、空間條件與人際關係中被重新調整與運用。 理論上，本文以 voice studies 對聲音物質性、身體性與社會性的討論為核心，並結合具身感知、聲音感質、樂動與關係性實作等觀點，將現代阿卡貝拉理解為一種以聲音為媒介的感知訓練與群體協商場域。研究發現，現代阿卡貝拉中的「和」並不只是聲部彼此唱準或音色融合，而是歌者在無器樂伴奏、編制精簡、聲部角色彈性與麥克風展演等條件下，持續聆聽自己、回應他人並調整群體聲響位置的過程。所謂「團體的聲音」是在教學語言、排練語彙、身體習慣、選曲風格、世代傳承與當下成員聲音條件之間不斷被重新編織出來。藉此，本文說明共鳴與和諧如何在現代阿卡貝拉訓練中成為一種可被感知、可被溝通、可被修正，並具有倫理意涵的群體聲音實踐。

This study examines how singers within contemporary a cappella training systems gradually develop an understanding of “resonance” and “harmony” through vocal practice, bodily perception, pedagogical language, and group interaction. Taking the “Weaving resonance” as its central metaphor, this thesis argues that vocal training in contemporary a cappella is neither merely the transmission of technical skills nor an internal technique completed by individual singers alone. Rather, it is gradually formed through repeated interaction, correction, and negotiation among teachers, singers, ensemble members, rehearsal spaces, and performance conditions. Instead of understanding resonance as a physiological effect within the individual body, or harmony as the technical result of accurate pitch and chordal coordination, this study emphasizes that both are relational practices that are perceived, named, adjusted, and sustained within concrete training and rehearsal settings. Methodologically, this study takes the vocal lessons of WEI-JEN, YEH, soprano of the O-Kai Singers, as its primary field site. Through participant observation, lesson records, and semi-structured interviews, it analyzes how linguistic metaphors, gestures, touch, bodily operations, and vocal demonstrations in one-on-one voice lessons jointly guide students in developing a perception of resonance. This thesis further categorizes the pedagogical language that repeatedly appears in these lessons into four modes of perceptual association: pitch perception, vocal tract and resonating space, bodily exertion, and integrative metaphorical guidance and interpretive association. It shows how expressions such as “send the voice forward,” “hang it high,” “open up,” “don’t let it fall,” and “keep it compressed” transform abstract vocal demands into bodily experiences that can be imagined, felt, and operated. At the same time, this study draws on the author’s participation in the PopPhone Singers Cappella Ensemble (2020–2024) and the PopPhone Pop Choir (2024–present), as well as extended field experiences in vocal coaching, recording direction, and harmonic collaboration, to explore how perceptual modes formed through individual vocal training are readjusted and applied within group rehearsals, repertoire practice, spatial conditions, and interpersonal relations. Theoretically, this thesis takes voice studies as its core framework, especially its discussions of the materiality, embodiment, and sociality of voice. It also engages with perspectives on embodied perception, vocal qualia, musicking, and relational practice, understanding contemporary a cappella as a field of perceptual training and collective negotiation mediated through voice. The study finds that “being in harmony” in contemporary a cappella is not simply a matter of voice parts singing in tune or blending timbres. Rather, under conditions such as the absence of instrumental accompaniment, small ensemble size, flexible vocal roles, and microphone-based performance, harmony emerges through singers’ ongoing processes of listening to themselves, responding to others, and adjusting their positions within the group sound. The so-called “sound of a group” is likewise not the reproduction of a single teacher, school, or fixed tradition. Instead, it is continually rewoven among pedagogical language, rehearsal vocabulary, bodily habits, repertoire style, generational transmission, and the vocal conditions of current members. In this way, this thesis demonstrates how resonance and harmony become a collective vocal practice that is perceptible, communicable, correctable, and ethically meaningful within contemporary a cappella training.