「主歌-副歌」的曲式及聆聽行為研究── 以臺灣的國語抒情慢歌為例

Abstract

國語情歌在台灣流行音樂市場上占有重要地位，然而對於其「主歌-副歌」曲式（verse-chorus form）的音樂探討卻不多見。本研究分析國語抒情慢歌的詞曲，聚焦於歌詞涵義與音樂特性，以觀察主歌及副歌的對比性。 歌詞分析顯示，主歌及副歌有以下三種對比類型：問答型、決定型、內外型。音樂分析則顯示，（1）第二次副歌通常有最豐富的織度及最強的力度；（2）第一次主歌與第三次副歌則較有可能使用氣音和假音，傳達異於第二次副歌的情緒；（3）速度漸慢較常出現在第二次副歌之前；（4）調性變化較常出現在第三次副歌之前。 聆聽行為實驗希望藉由紀錄聽眾的生理訊號，來探討流行歌曲中的特定事件對於情緒的感染力。實驗結果顯示，國語抒情慢歌的力度、織度、速度、和聲變化，易使受試者出現皮膚導電反應（skin conductance response），以上音樂特徵皆強調了副歌的出現。本研究為數十年來「主歌-副歌」曲式的流行，提供了新的洞觀。

Love songs hold their dominant position in Taiwan pop music market. Their musical form, the verse-chorus form, has been poorly understood in the field of music theory. The present study analyzed the verse-chorus form in Taiwan lyrical pop songs, focusing on the semantic and musical contrasts between the verse and the chorus. Lyrics analysis reveals that the contrastive types of the verse and the chorus include: asking-answering, thinking-determining, and external-internal. Music analysis finds that (1) the second chorus tends to have the richest texture and highest loudness; (2) the third chorus tends to use breathy singing voice, thereby conveying contrasting emotion; (3) tempo modulation tends to occurs before the second chorus; and (4) tonal modulation tends to occurs before the third chorus. The experiment of physiological measures in listeners examined their arousal associated with specific events in lyrical pop songs. The results show that skin conductance responses may be associated with the modulations in loudness, texture, tempo, and harmony. These musical features often emphasize the arrival of the chorus. This study provides new insights into the popularization of the verse-chorus form in recent decades.