臺南「牽亡歌陣」跨域音樂與表演主體互視-以「龍鳳」與「玉音」牽亡歌陣團為例

Translated title of the contribution: A Subjective Mutual Inspection on Interdisciplinary Music and Performance of Qian-wang-ge-zhen in Tainan

Research output: Contribution to journalArticlepeer-review

Abstract

"Etiquette and ceremonies" have been highly valued by the intellectuals over the Chinese dynasties. Many of them are documented and recorded, and thus turned into our traditional culture. The burial and funeral ceremony is very much respected by the Taiwanese, and the common people place great importance on the ritual of sending the dead souls to the West because of their strong affection for the deceased; therefore, the burial and funeral ceremony becomes solemn and serious. Qian-wang-ge-zhen is one part of the funeral, which is a Yizhen-a ceremonial performance accompanied together with narrating, singing and dancing-performed by five characters: Hong-tou-fa-shi (Red-head Masters), Wang-yi (the psychic), Lao-po (the old lady), Xiao-dan (the young lady) and a Sanxian player. The ceremony starts from the living's idea of life, out of their care and affection for the dead, hoping everything is well for the dead via certain rituals. In today's society, with prosperous economy and business, and development in technology, the life pace of the common people becomes fast and busy. Many people are ignorant of the meaning of the traditional etiquette and ceremonies, so they might consider these etiquette and ceremonies out of date. Furthermore, a funeral might be very complicated and time-consuming, which makes some people feel frustrated, or even repel the funeral because they think it's redundant. Consequently, the situation of Qian-wang-ge-zhen goes from bad to worse because of the change of times. Many troupes of Qian-wang-ge-zhen cut down the content for the convenience of managing, which leads to the deterioration and simplification of performance and content quality. This is an issue worth our attention. I believe there must be rationality and applicability to set the base for the formation of certain ceremonies, and there must be a certain design to make these ceremonies last. By all means, there must also be a necessity for the ceremonies to accommodate to our life and to be functional enough to blend into the commoners' daily habits and ideas of aesthetics for years until now. This paper will begin by discussing the application of interdisciplinary music and dramatic genres of singing tunes of Qian-wang-ge-zhen in Tainan, including the application of folk songs, popular songs, Jiujia opera and Taiwanese opera. Secondly, the form and techniques of Sanxian accompanying will be analyzed, including: Play & lead, Perform with intonation, Sing high & perform low, Florid embellishments, etc. Thirdly, this paper will explore the difference between Long-Feng Mantra-Chanting Qian-wang-ge-zhen Troupe and Yu-yin Qian-wang-ge-zhen Troupe, including their performing procedures, performing styles, narrating content, and singing tunes. Through the analysis of an intersubjective mutual inspection, we could have a better idea about the form of performing Qian-wang-ge-zhen. This paper will be based on the materials collected through field investigation, and the analysis of the content of the music tunes of Qian-wang-ge-zhen to explore how Qian-wang-ge-zhen music derives its nutrients from folk music to render the application of interdisciplinary music styles. Furthermore, the performing procedures and content features of different Qian-wang-ge-zhen will also be compared to see the versatile qualities of Qian-wang-ge-zhen.

Translated title of the contributionA Subjective Mutual Inspection on Interdisciplinary Music and Performance of Qian-wang-ge-zhen in Tainan
Original languageChinese (Traditional)
Pages (from-to)1-42
Number of pages42
Journal臺灣音樂研究 = Formosan Journal of Music Research
Issue number31
DOIs
Publication statusPublished - 2022 Dec

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