論取樣音源的共作與轉譯：以臺灣南管音樂為例

Abstract

透過取樣（sampling）技術所建置的音源庫（Sample Library），往往以西方作為主流視角呈現於眾人面前，其話語權也多半由位居強勢文化的取樣者所把持。不過近年來，從日本、韓國、中國再到臺灣，無論是學界或業界皆出現不少音源庫製作成果，例如在臺灣，已有阿美族旮亙樂器音源、排灣族鼻笛音源、鄒族鼻笛音源、北管音源、以及排灣童聲音源等可供使用。音源製作除了呈現出在地化的趨勢，也能觀察到取樣者意圖與被取樣者營造一個平等、有機的互動模式。 然而，對於長期以來被視為「傳統」的音樂文化來說，前人們的處理方式與結果，在實務上，卻還留有許多尚待釐清之處，且對取樣者來說是相當重要的議題。例如，被取樣者及其所在文化圈對該音樂文化的論述，是如何影響音源製作的形塑過程？在「我」與「他者」的關係中，取樣者是如何經由學習，並從中取得與局內人近同的音樂經驗，以作為音源後製的關鍵文化認知？關於被取樣者本身的代表性，取樣者是否在乎、又如何判斷？如果是，那麼被取樣者在所屬的音樂文化脈絡中，哪些面向可能是形塑代表性的核心要件？而作為取樣者，又當如何轉譯那些具有文化識別度的聲響，並適配於截然不同的科技媒介中？ 為了回應上述問題，本研究採用文獻分析、田野調查、和實踐研究等方法，以臺灣南管音樂為對象，透過與被取樣者及其所在的文化圈建立雙向互動關係，並錄製拍、琵琶、三弦、洞簫、二弦、雙鐘、響盞、叫鑼以及四塊等基本演奏單位，製作成能觸發各樂器單音音色的音源庫，從而藉此分析音源製作技術背後的共作與文化轉譯。除了作為一篇「實作」研究，本文的貢獻也期望從音樂學學科出發，與學界、業界及南管界的相關人士，在此議題上初步對話，並為取樣音源領域留下更多樂種的討論紀錄。

The Sample Library constructed through sampling technology is often presented to the public from the mainstream perspective of the West, and its discourse power is mostly controlled by the producers who are in the dominant culture. But, in recent years, from Japan, South Korea, China to Taiwan, many projects of producing sample libraries emerge in both academia and industry. In Taiwan, there are Amis Kakeng musical instruments, Paiwan nose flute, Beiguan sample libraries, etc. In addition to the trend of localization in sample library production, it can also be observed that the producers intend to create an equal and organic interaction model with the performer. However, for the music culture that has been regarded as "traditional" for a long time, there are still many practical issues which are about the methods and results in previous studies need to be clarified. How do the insiders’ discussion of the music culture affect the process of producing sample library? In the relationship between “The Self” and “The Other,” how do the producers learn from them and obtain a similar musical experience as the insiders, and take it as the key cultural cognition of the postproduction? How to explain the representativeness of the performers and different aspects in the musical cultural context to which they belong? How to translate those cultural-identifiable sounds and adapt them into a completely different technological medium? This study which takes Taiwan nanguan music as sampling material adopts the methods of Literature Analysis, Fieldwork, and Practice Research. Also, this study establishes a two-way interactive relationship with the performers and their cultural community to answer the above-mentioned questions step by step. Including Pai(拍), Pipa(琵琶), San Xian(三弦), Dong Xiao(洞簫), Er Xian(二弦), Shuang Zhong(雙鐘), Xiang Zhan(響盞), Jiao Luo(叫鑼) and Si Kuai(四塊), I record their basic performance units and transform them into sample libraries which are capable of triggering the note sounds of each instrument. In addition to pointing out the important contribution of this study as “Practice” research, I hope that starting from the discipline of musicology we can have preliminary dialogues on this topic with relevant people in academia, industry, and nanguan community, and leave more discussion for producing sample libraries.