| Summary: | 碩士 === 國立臺灣大學 === 音樂學研究所 === 103 === In the 1930s, recording industry in colonial Taiwan had become more mature, and pop song was accepted as one of the most popular genres on record. It was a general practice of the recording industry to involve composers, lyricists, and arrangers in the process of music production. This thesis aims to provide a new method for analyzing pop song’s arrangement by observing the stylistic features of the works of Okuyama, who arguably arranged the most number of Taiwanese pop songs during that time. .
I propose that music arrangement of pop songs can be analyzed from four aspects, namely sections, rhythm, harmony and instrumentation. Regarding sections, I discuss the relationship between prelude, interlude and coda with the song’s melody, and how Okuyama deals with these sections within the time-limit of the 78 rpm record. As for rhythm, I explore how the rhythmic patterns of songs employed by Okuyama were connected to the popular dance rhythms at that time. In respect of harmony, I examine how Okuyama applied western harmonies to the pentatonic scale. Finally, in terms of instrumentation, I consider how Okuyama designed the roles played by each instrument in the four elements - main melody, corresponding melody, fill and rhythm - that constituted the overall accompaniment.
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