吹撥亂彈腔系戲曲「緊拉慢唱」板式的戲劇運用與音樂特徵

Abstract

「緊拉慢唱」板式在許多板腔體戲曲中皆具有鮮明的表現力，此板式的音樂特徵為伴奏一小節一拍而唱腔為散板，伴奏音形可以有效傳達劇中人的動作與情緒狀態。本研究的目的在於分析「緊拉慢唱」板式的戲劇運用與音樂特徵，探討其音樂技法如何實踐戲劇功能，研究範圍限定於吹撥亂彈腔系戲曲。在「緊拉慢唱」板式的戲劇運用方面，筆者發現這類板式較常用來襯托行動與特殊情緒狀態。在「緊拉慢唱」的音樂特徵分析中，筆者發現有些伴奏與唱腔的關係並不能用支聲複調來解釋，而更適合以流行音樂的短動機（riff）概念來理解。針對京劇《徐策跑城》【高撥子搖板】的深入分析，則呈現出速度與劇中人情緒的層次變化，胡琴的短動機堆疊可以有效引起觀眾的期待感，同時也襯托著精彩的身段表演。「緊拉慢唱」體現了板腔體戲曲在音樂律動上的獨特處理，在戲曲發展的歷程中具有開拓性的意義。

The jin-la-man-chang (slow singing with fast accompaniment) rhythmic mode, present in many banqiang xiqu, carries a distinctive expressive power. The accompaniment plays one beat per bar, while the vocal line is unmeasured. The shape of the accompaniment helps to effectively convey the actions and emotions of the characters in the drama. This study is an analysis of the theatrical uses and musical characteristics of jin-la-man-chang, to see how this rhythmic mode achieves its dramatic effect in luantan xiqu. We have found that the theatrical uses of jin-la-man-chang are most often to support actions and distinct emotions, while musical analysis shows that the relationship between accompaniment and voice is not always a heterophonic one, but is rather closer to instrumental riffs in popular music. In the Peking opera Xu Ce Climbs the City Walls (using yaoban rhythm in a gao bozi mode), the tempo of the music changes in accordance with the emotions of the characters in the drama; the repeated motifs in the huqin serves to enhance the audience’s feeling of anticipation, while at the same time accompanying the acrobatic movements of the actors. The jin-la-man-chang rhythm is a distinctive way of depicting movement in music in banqiang xiqu, possessing a particularly pioneering function in the development of xiqu.