| Summary: | 碩士 === 國立臺南藝術大學 === 民族音樂學研究所 === 101 === Taking a case study of nanguan repertoire “Bajunma,” this study examines the improvisations and performance techniques of nanguan erxian. Si, Mei, Zou, and Gui are the four major suites of nanguan music, and Bajunma—also known as Zouma— is in Zou suite, and considered as the representative repertoire of nanguan erxian. Due to the instrumental structure and mechanical characteristics of erxian, performers have developed a standard playing techniques for erxian. Bajunma is known for the capabilities of showing erxian’s musical grammars.
This study first introduces guanmen, puzi of gongchipu, and standards of erxian performances in nanguan music. Second, it analyzes nanguan repertoire Bajunma in terms of musical structures, in order to understand the musical layers, and helps to
arrange playing techniques and improvisations in performance logically. The third chapter conducts comparative methodology to examine the differences of performance techniques, improvisations, and rhythms of the three other nanguaninstruments (pipa, sanxian, and xiao) while playing the same phrases in Bajunma in nanguan ensemble. From the comparisons, it highlights the characteristics of erxian’s musical grammars in performance. The final chapter concludes the analyses of previous chapters, illustrates the interpretations of Bajunma on erxian, and performance techniques such as improvisation and variations.
From the examinations of musical grammars of nanguan erxian, this study helps to broaden my views in terms of the ideas of performances, improvisations, and the ways of arranging performance techniques. Finally, it helps to enhance my overall expressions in musical performances.
Key words: nanguan; Bajunma; erxian; performance gramma
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