The Research of the Hakka Folksongs in Central Taiwan, Dongshish Area

• Main Authors: LAI Chien-Yu, 賴建宇
• Other Authors: HSU Li-Sha
• Format: Others
• Language: zh-TW
• Published: 2012
• Online Access: http://ndltd.ncl.edu.tw/handle/85934901252024920827

碩士 === 國立臺中教育大學 === 音樂學系碩士班 === 100 === The Hakka communities in Greater Taichung are mainly located in Dongshih, Shigkang, Xinshe and Heping. The Hakkanese in the Dongshih area employ the Da-Pu tone. The population of Da-Pu tone speakers is much smaller than those using the Hakka-S-Xian or Hai-Lu tone. As a result, Da-Pu tone speakers’ cultural heritage has been impaired. With more recent research, the Da-Pu tone is getting more attention. However, there has still not been much focus on Hakka folksongs in this area. The Da-Pu tone has similarities with the Hai-Lu tone in terms of vocabulary and resembles the Hakka-S-Xian tone in terms of its tone. Folk song singing is very much related to the tone of the language. Therefore, this study focuses on Hakka traditional folk songs in the Dongshih area. From a musicology point of view, the aim of this study is to realize how tones in spoken language are related to those used in folksongs. This study looks back at the history of the Dongshih area first, then collects all the related materials and analyzes the traditional Hakka folk songs in the Dongshih area. The content includes songs from 《Folksongs in Taichung County》, and also data collected in Dongshih from 2010 to 2011. Furthermore, the study analyzes the components in tones and tunes in Hakka traditional folk song based on Chao Yuen Ren’s Tonal Pitch Variation. The result shows that the tones used in the folk songs are different than in other areas. Other than the differences in vocabulary and pronunciation, the inner tones in 54 and 21 have the most contrast. Also, the study compares the folksongs nowadays with those from 2003. The later ones show more flexibility and singing style. On the other hand, the previous ones have better sound quality. The reasons can be traced to how record companies trained singers and lost the original creativity.