南華大學 碩士論文 中華民國九十五年六月十四日
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ABSTRACT Since Ming Hwa Yuan Taiwanese Opera Company started to cooperate with the Chinese orchestra, the problem of how the participation of Chinese music musicians goes with Wen-wu Chang (the traditional troupe band) has emerged. In the 90s, the importing concept of music design from Xiang Ju as well as the advance in performance art have stimulated Chinese music musicians to set foot in and laid the foundation for Taiwanese Opera s integrated music design. During the decade, the pattern of accompanying has gradually changed from cooperation between Chinese orchestras and Wen-wu Chang to Chinese music musicians conducting the flow of music. The importance of the Chinese music musicians have greatly elevated. Therefore, the study focuses on what influence and variation they have brought to the music of Taiwanese Opera. The study includes six chapters. Chapter One, the Introduction, accounts for the studying motive, goal, research range and limit, approaches, term-definition, and the paper review. Chapter Two covers the evolution of Taiwanese Opera s music and musicians. The development of its tunes and accompaniment are elaborated to be background knowledge on Taiwanese Opera s music. And from the tune development, we can also find how the roles of musicians evolve, so as to know how contemporary musicians work with different types of troupes. Chapter Three relates to the process of how Chinese music musicians accompany Taiwanese Opera plays: how they try to work with Wen-wu Chang, how they join workshops to promote their own skills, and under the impacts of cross-strait cultural exchange, how they come to lay the basis for being music designers for Taiwanese Opera. Followingly, IV
Chapter Four will introduce some representative Chinese music musicians undertaking designing music for Taiwanese Opera plays. Interviews are the approach to present their learning background, and thoughts about their invention and music design. Not only do those musicians reform the instruments, expand the troupe band organization, and shift the layout of Wen-wu Chang, they also further take advantage of music design to refine performers singing performance, which was previously mostly performers own responsibility. Chapter Five indicates these contributions, which surely call much more attention of the audience to the music of Taiwanese Opera. As the conclusion, based on the evolution of musicians roles and their accompanying experiences, the final chapter will comprehensively discuss how traditional Chinese music musicians affect the contemporary development of Taiwanese Opera in four aspects the inheritance, development, impacts, and future perspectives. Key Wordsmusicians musicians music design V
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