臺灣北部客家地區「北管八音」現象析論

Abstract

流傳於北部客家地區的樂種，主要有客家八音與北管音樂，二者的音樂內容、屬性、應用場合與文化生態皆不同。約於1925年代左右，客家八音班於「拼笛」文化中吸取北管音樂，形成八音班唱奏北管音樂的現象，光復後逐漸成為趨勢，並發展為穩定的音樂文化生態。本文從三方面探討此「北管八音」現象：首先分析客家八音與北管的音樂內涵與文化功能，闡明其於客族音樂生活功能之差異性；其次梳理「北管八音」現象形成的時代背景與發展脈絡；最後對「北管八音」現象引發學者的不同解讀進行評析，並思考「八音班」的名實問題以及樂種、樂師與展演團體之間的關係。以期透過音樂本質、音樂文化生態與音樂社會環境等層面的剖析，呈現客家八音於歷史脈絡下的變遷現象與文化意義。

The music circulated in the Hakka area of the north Taiwan consists of Hakka Bayin and Beiguan music. The music styles, types, applications and cultural ecology of the two genres are different. Around the year of 1925, the Hakka Bayin music performers absorbed the Beiguan music for self-improvement, and since then many Bayin music performers have begun to sing the Beiguan Music. In the postwar era, Bayin music performers' practice of Beiguan music became a trend and a stable music culture. This paper explores the phenomenon of ＂Beiguan Bayin＂ music from three aspects. Firstly, it analyzes the music styles and cultural function of Hakka Bayin and Beiguan music. Secondly, it explores the phenomenon of ＂Beiguan Bayin＂ music and its related social context and background. Finally, it analyzes scholars' diverse interpretations of the phenomenon, addressing issues of the relationship between the performers and their performing groups.