日治時期鹿港遏雲齋南管唱片研究

Abstract

鹿港遏雲齋於1927年到1930年代，先後為日本蓄音器商會（日蓄）與鶴標唱片公司（鶴標）錄製南管唱片，總計數量超過一百面，曲目超過四十首，為已知臺灣戰前錄製最多唱片的南管團體。然而，至今尚無專門的研究彙整並分析這些唱片的音樂內容與文化意涵。本文使用遏雲齋於日治時期錄製的唱片，觀察當時的樂人錄製南管音樂時如何選擇曲目、如何進行唱奏，以瞭解日治時期遏雲齋樂人的音樂實踐。由分析結果可以看出，遏雲齋樂人錄製的曲目雖然與今日之「洞管」相同，但唱奏方式卻有許多差異。日蓄唱片中，樂人唱奏的音調較高，琵琶調整了定絃設置以配合音律，且琵琶與三絃有裝飾性彈奏、二絃的弓序較隨意、演唱風格較無頓挫，與今日之「洞管」唱奏方式不同。而在鶴標唱片中，使用的樂器與音律雖然已與今日之「洞管」相同，但唱片中仍呈現出許多琵琶三絃的裝飾性彈奏，與今日之「洞管」唱奏方式仍有明顯區別。研究中發現，日治時期遏雲齋唱片中的「南管」音樂，在樂器、音律、唱奏方式等層面皆呈現出複雜的情形，很難明確地定義唱片中的音樂屬於哪種「南管」，由此可看出「南管」樂種的複雜程度，以及對各種「南管」音樂實踐方式歸類的困難。

From 1927 to the 1930s, the Lo̍k-káng At-hûn-tsai 鹿港遏雲齋 recorded over 100 Lam-kuan (南管 Nanguan) records for the Nipponophone Company 日本蓄音器商會 and Tsuru Record Company 鶴標唱片公司. As a result, this ensemble boasts the highest number of pre-war recordings in Taiwan. However, there has been no dedicated research to compile and analyze these records' musical content and cultural significance. This thesis examines At-hûn-tsai’s recordings during the Japanese occupation, focusing on piece selection and performance styles. Analysis indicates that At-hûn-tsai's recordings share similarities to Dong-guan 洞管 in their piece selection, although the performance styles are distinct from those found in today’s Dong-guan. In Nipponophone records, the singing pitch was higher, while the gi–pe 琵琶 adjusted its tuning setup to align with the melody. The gi-pe and sam–hian 三絃 featured decorative playing, and the li-hian 二絃 bowing was more casual. In Tsuru records, while instrument arrangement and melody aligned with Dong-guan, the music style was still different from Dong-guan. The study finds that the Lam-kuan music in At-hûn-tsai recordings presents complex variations in instruments, tuning, and performance styles, making it difficult to categorize the music definitively and highlighting the complexity of the Lam-kuan genre and its diverse performance practices.