臺灣豫劇團音樂之特色

Taiwan BangZi Opera Company has a history of about 70 years in Taiwan, and has Bangzi tunes as the main music content, when it comes to singing. Due to its long-term development in Taiwan, its repertoire has many innovative themes. From the brand-new dramas produced by Taiwan BangZi Opera Company every year, we can know its direction is for creating and integrating the phenomena of Taiwanese customs and local culture. The company’s innovative repertoire not only captures the essence of the Chinese and the Western arts, and presents traditional and contemporary styles, but also attempts cross-border cooperation, constantly innovating and creating many popular works over the years. There are eight types of repertoire performances by Taiwan BangZi Opera Company, including: traditional classic repertoires, newly written repertoires, cross-border works, transplanted repertoires, local themes, experimental plays, children’s plays and juvenile Bangzi operas, etc., which is really rich and diverse. This paper will firstly discuss that Bangzi opera tunes are high-pitched and bright with great tension, and can obviously present the characteristics of joy and weeping, which makes the art popular among the public from different backgrounds and spread to many places, and diverse Bangzi music systems has thus been formed. Secondly, the characteristics of Taiwan Bangzi opera singing style will be analyzed, including: ‘Adagio,’‘Liu Shui Ban,’ ‘Erba Ban’ and ‘San Ban,’ and the flexible application and functional effects of these four traditional forms. Thirdly, the forms and functions of Wen- and Wu-changs will be discussed. Apart from the application of traditional Banhu and Bangzi, there are also many functional musical instruments and innovative orchestration techniques, making the music of Taiwan BangZi Opera Company have a richer sound effect. Finally, the innovative design of the music of Taiwan BangZi Opera Company will be underlined, including: the innovative tunes, innovative singing styles, innovative singing forms, innovative intermission and scene music, and newly-added musical instruments and orchestration techniques, etc. Hopefully, the research in this paper can be referential for other opera music artists.