日治時期臺語流行歌曲編曲研究：以奧山貞吉之作品為例

Abstract

1930年代，臺灣的唱片工業體制已趨成熟，流行歌曲成為當時受歡迎的樂種之一。此時的音樂製作已被區分為三個部份，即作曲家、作詞家和編曲家，然而大部分的研究者關注這些音樂的旋律和歌詞，有關編曲的部分常被忽略。本研究乃以編曲家奧山貞吉的流行歌曲作品為例，提出分析編曲的方法。 本論文將編曲工作分為四個部份進行分析，分別是「編曲樂段」、「節奏」、「和聲」及「樂器配置」。「編曲樂段」的部分，主要在探討歌曲之「前奏」、「間奏」、「尾奏」與「歌曲主旋律」之間的關係，以及在78轉唱片的錄音時間長度限制下，編曲家對於安排「編曲樂段」的考量。「節奏」的部分，在於檢視編曲家所賦予各首歌曲之伴奏節奏型態與當時所流行的舞蹈節奏之間的關連。而「和聲」的部分，則提出西方和聲運用於東方調式歌曲旋律中的適配性。至於「樂器配置」，主要在觀察各項樂器於四個構成整體編曲伴奏的要素－「主旋律」、「對應旋律」、「填音」和「節奏」－中所扮演的角色。

In the 1930s, recording industry in colonial Taiwan had become more mature, and pop song was accepted as one of the most popular genres on record. It was a general practice of the recording industry to involve composers, lyricists, and arrangers in the process of music production. This thesis aims to provide a new method for analyzing pop song’s arrangement by observing the stylistic features of the works of Okuyama, who arguably arranged the most number of Taiwanese pop songs during that time. . I propose that music arrangement of pop songs can be analyzed from four aspects, namely sections, rhythm, harmony and instrumentation. Regarding sections, I discuss the relationship between prelude, interlude and coda with the song’s melody, and how Okuyama deals with these sections within the time-limit of the 78 rpm record. As for rhythm, I explore how the rhythmic patterns of songs employed by Okuyama were connected to the popular dance rhythms at that time. In respect of harmony, I examine how Okuyama applied western harmonies to the pentatonic scale. Finally, in terms of instrumentation, I consider how Okuyama designed the roles played by each instrument in the four elements - main melody, corresponding melody, fill and rhythm - that constituted the overall accompaniment.