當代國語流行歌曲的時間性分析－以華語地區創作型男歌手作品為例

Abstract

一直以來，關於華語流行音樂的研究多圍繞在探討歌詞文本的文學分析、傳播現象或社會與文化層面等等議題上，僅能在少數研究中見到專注於樂音或聲響過程的分析研究。而關於時間性的文獻，近年來出現愈來愈多的討論，涵蓋的樂種包括西方藝術音樂、現代音樂、亞洲地區的傳統音樂，以及歐美地區的流行音樂、華人地區的音樂等等。且學界已發現在關於京劇、二胡及古琴等樂種的個別演唱、演奏或錄音的相關研究中，都指出樂曲中類似直進與非直進時間性的過程與樂人的訓練背景有關。然而，儘管流行音樂及時間性的相關研究甚多，但目前尚無從時間性角度分析當代國語流行歌曲之樂音或聲響過程之研究案例。 有鑑於此，本論文透過Kramer所述的時間性角度，分析當代華語地區創作型男歌手所作的愛情主題抒情國語流行歌曲中「直進/非直進」及「變/不變」的種種現象，首先觀察歌曲中有無高潮現象，並分為七個參項與五個層級來討論各曲之時間性的表現，包含配器、調性、和聲、和聲節奏、音高旋律、節奏及超節奏等七項參項，以及超樂段、樂段、樂句、樂節/小節以及單音/節拍等五個層級。

Studies of mandarin popular music have long been focusing on issues about lyric analysis, communication phenomenon, social and cultural aspects, while few studies are related to the sound process. In addition, discussions over temporality have increased in recent years, and the music genres being treated include western art music, Asian traditional music, popular music in Europe and America, music in Chinese regions, etc. Among these studies, those related to individual performance, playing or recording of Peking Opera, Erhu and of Chinese zither show that the process of linear and non-linear temporality is associated with the training backgrounds of musicians. Although there are many studies on the temporarity of pop music, no analysis is conducted in terms of musical sound process of contemporary Mandarin popular music from the perspective of temporality. This thesis analyzes the phenomenon of “linear” and “non-linear” temporarity in Mandarin pop songs with romantic theme in lyrical style, composed by contemporary male singer-composers in various areas. We first observe whether there is a climax in each of these songs, and then analyze and compare processes of temporality in terms of seven parameters (orchestration, tonality, harmony, harmonic rhythm, pitch and melody, rhythm and hyper-rhythm) and five levels (hyper-periods, periods, phrase, unit/bar and single-tone/beat).