| Summary: | 碩士 === 國立臺北藝術大學 === 傳統音樂學系碩士班 === 106 === In this article, I focus on three aspects of Lam-kuan (南管) musical skills that were featured in my graduation concert Dragon-Chant: the methods of Pi1Pa1(琵琶; a four-string lute) playing, Ciũ2-kiok7(曲唱; vocal singing), and Pin1- NA2 (品仔; a horizontal flute) playing. The three songs included in the concert program were selected not only to foreground the three musical aspects, but they also respectively represented the three song types in the repertoire of Lam-kuan: for Zuĩ3-to4(指套; suites), Sim3-guã1 Buat8 -cui2 (心肝跋碎); for Kiok7(曲; vocal songs), BiƏg4-huñ5 Piaũ1-miau2(白雲飄渺); and for Po2(譜; instrumental suites), Bueh8-miñ7(八面).
In the first chapter, I review the course through which this concert was organized, including the selection of songs, the staffing of musical partners, etc. In the preparation for this concert, the core aim was to foreground and focus on three musical aspects: Pi1Pa1 playing, Ciũ2-kiok7 as implemented by male vocalists, and Pin1- NA2 playing
In the second chapter, I start with an overview of the story of Zu1-pan2(朱弁), after which I analyze the musical elements in the four chapters of the suite Sim3-guã1 Buat8 -cui2, i.e. Sim3-guã1 Buat8 -cui2, Gam3-sia3 Gong1-zu2(感謝公主), Zu7-nƏn5 Mo2-dƏn1(朱郎卜返), and Zi4-kuñ7 Ui2-lio2(只恐畏了). In general terms, the musical elements that I investigate in my musical analysis can be defined as tunes pertaining to Mñ5-tau5(門頭; melodic types); in Lam-kuan-specific terms, these characterizing tunes are further classified as the main tunes (大韻), the high tunes (高韻), the low tunes (低韻), the special tunes (特韻), the tunes at the beginning of sentences (句首韻), and the tunes at the end of sentences (句尾韻). Alongside my musical analysis, the key points in Pi1Pa1 playing on the left hand and on the right hand are noted.
The third chapter starts with an overview of the story of Dañ3-iñ2(董永), the protagonist in the song BiƏg4-huñ5 Piaũ1-miau2. In my interpretation of the song, I intend to explore the difference between "male singing" and "female singing" as taught by my supervisor Wu Su-hsia(吳素霞). My comparison covered four aspects: pitch, sitting posture, the manners of pick1(拍; a wooden clap) using, and Ciũ2-kiok7 Dun7-cuo2 (頓挫).
In the fourth chapter Bueh8-miñ7, the author analyzes the early recordings of Sian1-Pin5(雙品; double flutes) by Nansheng Association in Tainan, Taiwan. By doing so, I compare the musical conventions, tonal colors, and styles exhibited in the early recordings with those implemented by the author in the concert.
Key words: Wu Su-hsia(吳素霞), Pin1- NA2(品仔), male singing (男唱), Lam-kuan(南管)
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