南管二絃弓法：共通性與歧異性

Abstract

近數十年來，南管進入兩岸學院體制、南音成為世界文化遺產、民間開設推廣班蔚為潮流、兩岸處處可見舞台展演。在多番交錯推移的歷程當中，南管關乎美學實踐的「法」（潛規則）一再被要求明朗化：位處傳承雙端的師生們都企盼有系統化的教材，而早期以館閣浸泡模式為主要學習管道的傳承模式，則倏忽已不足為充分的學習養分。本研究對於「法」有理而說不清的現象抱持著高度好奇，並且對於「法」的系統化可行性抱持著保留的立場；為進一步探究，本研究選擇聚焦於南管「頂四管」中相對較少受到注目、關乎形體動作的二絃弓「法」。 針對二絃弓法，本論文著手進行了一個看似系統化的演奏實作資料整理工程。藉此，本研究欲實測系統化工程的有效與徒勞，此即分別指涉論文標題所探討的二絃弓法共通性與歧異性。在研究的操作層面上，筆者以吳昆仁、張鴻明、謝永欽、張在我、丁世彬等五位兩岸藝師的二絃錄影為主要原始材料，以琵琶指法組合為分析框架，將五位藝師於影片中所實踐的各指法組合弓法案例逐一羅列，透過採集、歸納、分析、比對來探討藝師們弓法異同。 本研究首先以弓數來分析弓法實作案例，發現藝師們針對以「貫／蹔」（「貫／摺」）定義區別的指法組合所採用的弓法呈現明顯較高的共通性，此類指法組合包含：「點甲」、「點挑甲」、「點挑點挑甲」、「緊點挑甲」等；對於其他與「貫／蹔」無關的指法組合，藝師們所採之弓法呈現較為歧異的分布，例如：「全跳」、「反指」等。針對後二項弓法歧異性特質鮮明的指法組合，本研究進一步取兩岸樂人的弓法原則之說與五位藝師的實作案例交互辯證；比對的結果顯示，兩岸樂人說法的適用情形各有其地域性。除了以影片為材的核心研究之外，筆者也將丁世彬、張在我二位泉廈藝師的弓法教材納入探討，發現丁世彬藝師的教材較實作弓法規整，而張在我藝師在長年的弓法譜編修歷程中，至晚年則反而傾向將弓法原則鬆綁。透過勾勒與細瞧二絃弓「法」的共通性與歧異性，本論文尤感興趣且欲凸顯的是後者：漏出系統化篩網的二絃弓法歧異性。

One of the most common ways that so-called “traditional” musics are studied is systematic theorization, the trend of which is not only familiar to (ethno)musicologists, but increasingly seen as necessary in the eyes of traditional musicians who wish to see the tradition’s skills and aesthetics passed down effectively and comprehensibly. Taking such systematic trends not without doubt, this thesis conducts, tests, and works against the systematic endeavors at nanguan, a music tradition played in southern Fujian, Taiwan, and Hokkien immigrant communities in South East Asia. In nanguan terminology, huat can be seen as an equivalent of music theory, as it designates the conventions that music players should ideally conform to so as to render the music aesthetically in place. However, in practice, huat can hardly be defined so outright clear as systematic endeavors attempt to trim it down to be. In this thesis, I test and disentangle how well the converging and diverging huat can be fit into the framework of systemization. Among the various facets of huat, I focus on the huat of nanguan erxian bowing, which has barely been explored in exisiting literature. To do so, nineteen videos of five nanguan masters’ erxian playing are assorted, the bowing of which is then carefully transcribed. In terms of representativity, the five masters, Ngôo Khun-jîn (Wu Kun-ren; Taipei-based), Tiunn Hông-bîng (Zhang Hong-ming; Tainan-based), Siā Íng-khim (Xie Yong-qin; Tainan-based), Tiunn Tsāi-ngóo (Zhang Zai-wuo; Xiamen-based), and Ting Sè-pin (Ding Shi-bin; Jinjiang-based), vary in their geographical and musical backgrounds. To analyze the masters’ erxian bowing, pipa fingering patterns are used as methodical lens through which these five masters’ bowing patterns and conventions are sampled, analyzed, and compared. On the whole, by transcribing, collecting, sorting, and analyzing examples of five nanguan masters’ erxian bowing, I conduct a seemingly systematic investigation of the bowing huat of erxian, thereby delineating and exploring huat’s areas of convergence and divergence, between which the latter is especially foregrounded to problematize the application of systematic endeavors to a music tradition on the decline yet nevertheless alive.