「第一次民歌採集運動」所收錄恆春民謠研究─以【四季春】、【楓港調】、【平埔調】為例

Abstract

本論文研究主體為「德國波昂東亞研究院臺灣音樂館藏」中，所收錄1967年第一次民歌採集運動，於恆春地區採錄的聲音資料。這批錄音是1967年許常惠所領導的「暑期民歌採集隊」西隊，於7月27日至31日的調查成果之一，總共有93首不同的恆春民謠。許常惠所帶領的西隊，有五天時間，在恆春七個村落進行採錄，到訪了枋山的楓港村和善餘村、大光里、滿州的永靖村、滿州村和長樂村，及車城等地，採集了留下姓名的18位歌者，另外不知名的歌者聲音。本論文通過對於歌者的描刻，反映被調查對象的個性、行為、價值觀及生活狀況，讓本論文在研究恆春民謠上，能更快速理解個人在歷史和文化互動中的影響。本論文的第四章與第五章，乃針對盤帶內26首，恆春村民在紀錄表所標示樂曲名稱與音樂內容吻合度上，有所疑義之歌謠。本論文對此26首歌謠，進行了音樂結構分析比對，以觀察村民的曲調認同理念。第四章主要探討【四季春】、【楓港調】兩種類型的曲調風格。此部分從四個面向進行分析：一、曲調每句的落音上，【楓港調】【四季春】二者每句的結尾音均一致：分別落在re、sol、do、sol；二、【楓港調】的最大特徵是演唱時，旋律音高會有從低到高五至八度音的跳進，但四季春並沒有；三、【四季春】每句歌詞起頭會以唸唱為主，多半是同音反覆、級進或小跳，旋律較為平緩，而【楓港調】則旋律線條變化豐富，節拍多以複點或後半拍的方式演唱，較為華麗；四、【楓港調】較常使用「呃」來拖腔拗音，【四季春】會使用「啊」唱單獨一個音。至於第五章的與原住民交會的恆春民謠研究，則有聲資料包含了歌詞並非以福佬語演唱，曲名卻有原住民符碼的【阿美調】、【排灣族情歌】、【大武民謠】；以及旋律曲調為原住民曲調加上福佬歌詞的【加禮宛調】、【平埔調】、【阿美調】、【十番調】、【雪梅調】、【八社調】。以上統稱【平埔調】，其與噶瑪蘭族人的〈摘蕨貓菜歌〉（qayqutay）相似。而許常惠有稱【平埔調】為【臺東調】，推測因為陳達和吳知尾曾介紹此調來自臺東，因此許常惠的紀錄直接稱其為【臺東調】。但21世紀的恆春人所稱的【臺東調】，卻是指「相褒歌」的其中一種曲調，與【平埔調】無關。1967年錄音之內容，不僅連結了過去與現在，更為今天的研究提供了重要的歷史脈絡。通過1967年的這批恆春民謠錄音，更可以觀看恆春地區民謠的演變軌跡。The main subject of this thesis is the sound recordings collected in the Hengchun area during the first folk song collection movement in 1967, which are part of the"Ostasien-Institut e.V. Bonn Collection of Taiwan Music." These recordings were the results of the West Team of the "Summer Folk Song Collection Team" led by Hsu Tsang-Houei from July 27 to 31, 1967. A total of 93 different Hengchun folk songs were collected. The Western Team, led by Hsu Tsang-Houei, spent five days in seven villages in Hengchun, visiting Fenggang and Shanyu villages in Fangshan, Daguang Village, Yongjing Village in Manzhou, Manzhou Village, Changle Village, and Checheng. They recorded songs from eighteen named singers and additional recordings from unidentified singers. This thesis aims to reflect on the personalities, behaviors, values, and living conditions of the subjects surveyed through descriptions of the singers, facilitating a deeper understanding of individual impacts within historical and cultural interactions in the study of Hengchun folk songs.Chapters four and five of this thesis specifically analyze twenty-six songs from the record, focusing on discrepancies between the song titles indicated on the recording sheets and the actual musical content. The composer conducts musical structure analysis to observe villagers' concepts of musical identification. Chapter four mainly explores two types of melodic styles, " Sijichun Tune " and "Fenggang Tune." It analyzes these from four perspectives: the cadence of each phrase in "Fenggang Tune" and " Sijichun Tune " consistently ends on "re," "sol," "do," and "sol" respectively; the distinctive feature of "Fenggang Tune" includes jumps of five to eight octaves in melody, unlike " Sijichun Tune "; " Sijichun Tune " predominantly uses recitation or minor jumps at the beginning of each lyric line with a smoother melody, while"Fenggang Tune" features more varied melodic lines and is sung in a more ornate manner often in compound or latter beats; "Fenggang Tune" commonly uses "er" for drag singing, while " Sijichun Tune " uses "ah" to sing a single note. Chapter five investigates With aboriginal-related Hengchun folk songs, where recordings include lyrics not sung in Hokkien but labeled with indigenous codes such as "Ami Tune," "Paiwan Love Song," and "Dawu Folk Song"; these melodies are of indigenous origin with Hokkien lyrics, known as"Galiaowan Tune," "Pingpu Tune," "Ami Tune," "Shi Fan Tune," "Xue Mei Tune," and "Ba She Tune." The latter is like the Kavalan "Qayqutay" song. Hsu Tsang-Houei referred to "Pingpu Tune" as "Taitung Tune," possibly because Chen Da and Wu Jhih-Wei introduced this tune from Taitung. However, in the 21st century, Hengchun residents refer to "Taitung Tune" as one of the types of praise songs, unrelated to "Pingpu Tune." The recordings from 1967 not only connect the past and present but also provide crucial historical context for current research. Through these Hengchun folk song recordings from 1967, it is possible to delve deeper into the evolutionary trajectory of folk songs in the Hengchun region.