音樂時間與文化異質性：以1930年代前後《雪梅思君》的不同錄音為例

Musical Time and Cultural Heterogeneity: Recordings of "Xuemei Si Jun" during and around the 1930s

王育雯(Yuh-Wen Wang)

直進 ； 迴繞 ； 循環 ； 音樂現代性 ； 臺灣早期流行歌 ； 文化普同性 ； linear ； circular ； cyclical ； musical modernity ； early Taiwanese popular songs ； cultural universalism

民俗曲藝

180期（2013 / 06 / 01）

1 - 43

繁體中文

有關音樂中的時間性，已有不少研究都同意「直進」（linearity）是西方藝術音樂中常見的特質，而「非直進」（non-linearity）或「迴繞」（circularity）為許多非西方音樂的特質。不過亦有學者反對此一區別，認為所有音樂都同時具有直進與迴繞的過程，若以「直進與否」區別西方藝術音樂與其它音樂，等於是將所有音樂都武斷地進行二分法，並且忽略了音樂組織與文化因素間之密切關聯。基於此一理由，這些學者反對再由樂曲中的「直進」、「迴繞」等時間性討論文化異質性。本研究一方面贊同前述二元劃分的不當性；另一方面則主張對音樂時間的深入探討，不僅有助於理解文化普同性，也能帶來有關文化異質性的理解與洞見。藉着比較分析一首於1930年前後流行於臺灣的曲調〈雪梅思君〉之不同錄音版本，本文指出其旋律中所帶有的「迴繞」與「直進」的相對程度，如何分別與整體風格的相對傳統及西化程度相關，因而顯示由「文化異質性」角度觀察音樂時間的重要意義。文章最後並藉着闡述此意義與音樂現代性進一步相關的可能性，指出音樂時間與文化異質性間之關係值得持續深入探索。

Recent decades have seen important debates in musical time. Many scholars have argued for linearity as characteristic of Western art music (WAM), and non-linearity as characteristic of other musics. This position is recently attacked seriously for making dichotomous division among all cultures of music. Discussion of musical time in terms of cultural heterogeneity is thus discouraged. This study agrees, on the one hand, the problem in making dichotomous distinction of ”linear time associated with WAM” and ”non-linear time associated with non-WAM.” On the other hand, it argues that refined comparison in time processes not only brings insights into musical universality but also to heterogeneity. Through analyzing different recordings of a tune widely popular in Taiwan during and around the 1930s, ”Xuemei Si Jun” (Xuemei Longs for Her Beloved), I demonstrate how various degrees of circularity and linearity occur in relation to the relatively traditional or westernized overall styles respectively. Musical time is thus significant not only in terms of cultural universality but also heterogeneity. The latter may even bring insights to musical modernity, as the last section of this essay illustrates.

1. 王育雯(2009)。「新音樂學」的價值觀轉向：由「目標導向」到「非目標導向」。中央大學人文學報，38，12-62。
   連結：
2. 平井英子。1939。《臺灣娘》。東京：日本Victor
3. 江蕙。1985。〈雪梅思君〉。《臺灣民謠III 海上花》。臺北：田園唱片
4. 幼良。1929（依唱片編號推測）。《雪梅思君》。臺北：日蓄、古倫美亞（利家黑標）
5. 玉雲。1930（依唱片編號推測）。《愛玉自嘆》。臺北：鶴標
6. 玉梅。1934（依據日本民族學博物館出版刊物）。《送情人》。臺北：古倫美亞（利家黑標）
7. 美玉。1930s。《新雪梅》。廈門：德國寶塔
8. 陳金水。1930s（依據呂訴上（1954, 94））。《行孝歌》。臺北：羊標唱片
9. 罔市。1940。《黛玉葬花》。臺北：臺灣勝利
10. Hucke, Helmut, and Joseph Dyer. 2001. "Old Roman Chant." Grove Music Online
11. 純純。1932（依據日本民族學博物館出版刊物）。《戒嫖歌》。臺北：古倫美亞
12. 月中娥。1931。《新雪梅想君》。臺北：古倫美亞
13. 鶴齡、幼緞。1932–1935。《雪梅思君》。臺北：華壽篤
14. ミス•コロムビア。1939。《月照鼓浪嶼》。東京：日本Columbia
15. Agawu, Kofi(2008).Reviews: "Analytical Studies in World Music.".Journal of the American Musicological Society,61(2),411-18.
16. Apel, Willi(1958).Gregorian Chant.Bloomington:Indiana University Press.
17. Bateson, Gregory(1972).Steps to an Ecology of the Mind.San Francisco:Chandler.
18. Becker, Judith(1983).Hindu-Buddhist Time in Javanese Gamelan Music.The Study of Time,4,161–72.
19. Berger, Karol(2007).Bach's Cycle, Mozart's Arrow: An Essay on the Origins of Musical Modernity.Berkeley:University of California Press.
20. Clayton, Martin(2000).Time in Indian Music: Rhythm, Metre, and Form in North Indian Rāg Performance.Oxford:Oxford University Press.
21. Cone, Edward T.(1974).The Composer's Voice.Berkeley:University of California Press.
22. Cone, Edward T.(1968).Musical Form and Musical Performance.New York:W. W. Norton.
23. Cone, Edward T.,Morgan, Robert P.(Ed.)(1989).Music: A View from Delft: Selected Essays.Chicago:University of Chicago Press.
24. Cook, Nicholas(1987).A Guide to Musical Analysis.Oxford:Oxford University Press.
25. Dawe, Kevin(2008).Book Reviews: "Analytical Studies in World Music.".British Journal of Music Education,25(1),111-15.
26. Ertan, Deniz(2007).Cycles and Peripheries: An Ottoman Kitâb el-Edvâr.Asian Music,38(1),31-60.
27. Geertz, Clifford(1973).The Interpretation of Cultures.New York:Basic Books.
28. Gillen, Paul,Ghosh, Devleena(2007).Colonialism & Modernity.Sydney:University of New South Wales Press.
29. Green, Edward(2007).Book Reviews: Analytical Studies in World Music.Ethnomusicology,51(2),345-47.
30. Guy, Nancy(2005).Peking Opera and Politics in Taiwan.Urbana:University of Illinois Press.
31. Haimo, Ethan(1996).Atonality, Analysis, and the Intentional Fallacy.Music Theory Spectrum,18(2),167-99.
32. Han, Kuo-Huang(1979).The Modern Chinese Orchestra.Asian Music,11(1),1-43.
33. Harnish, David(2005).Teletubbies in Paradise: Tourism, Indonesianisation and Modernization in Balinese Music.Yearbook for Traditional Music,37,103-23.
34. Huang, Yi-Ping(1998).University of Maryland.
35. Kalib, Sylvan(1973).Northwestern University.
36. Kramer, Jonathan D.(1988).The Time of Music.New York:Schirmer Books.
37. Latartara, John(2005).Theoretical Approaches toward Qin Analysis: Water and Clouds over Xiao Xiang.Ethnomusicology,49(2),232-57.
38. Levin, Robert D.(2010).Review of Bach's Cycle, Mozart's Arrow: An Essay on the Origins of Musical Modernity by Karol Berger.Journal of the American Musicological Society,63(3),658-84.
39. Levine, Robert(1997).A Geography of Time.New York:Basic Books.
40. Maceda, Jose(1986).A Concept of Time in a Music of Southeast Asia (a preliminary account).Ethnomusicology,30(1),11-53.
41. McClary, Susan(1991).Feminine Endings: Music, Gender and Sexualities.Minneapolis, MN:University of Minnesota Press.
42. McGraw, Andrew Clay(2008).Different Temporalities: The Time of Balinese Gamelan.Yearbook for Traditional Music,40,136-221.
43. Merriam, Alan P.(1964).The Anthropology of Music.Evanston, Illinois:Northwestern University Press.
44. Nussbaum, Martha C.(1997).Cultivating Humanity: A Classical Defense of Reform in Liberal Education.Cambridge, Mass:Harvard University Press.
45. Perry, Mark E.(2008).Reviews: "Analytical Studies in World Music.".Fontes Artis Musicae,55(2),398-99.
46. Pressing, Jeffrey L.(1993).Relations Between Musical and Scientific Properties of Time.Contemporary Music Reveiw,7(2),105-22.
47. Solie, Ruth A.(Ed.)(1993).Musicology and Difference: Gender and Sexuality in Music Scholarship.Berkeley:University of California Press.
48. Stäblein, Bruno(1974).Die Entstehung des gregorianischen Chorals.Die Musikforschung,27,5-13.
49. Stock, Jonathan(1996).Musical Creativity in Twentieth-Century China: Abing, His Music, and Its Changing Meanings.Rochester, NY:University of Rochester Press.
50. Tenzer, Michael(2011).Temporal Transformations in Cross-Cultural Perspective: Augmentation in Baroque, Carnatic and Balinese Music.Analytical Aproaches to World Music,1(1),152-75.
51. Tenzer, Michael(2006).Analytical Studies in World Music.New York:Oxford University Press.
52. Wang, Yuhwen(2010).Expressiveness in the Pre-modern Performance Style of Chinese Music: 'Equanimity' in Abing.Asian Music,41(1),127-65.
53. Wang, Yuhwen(1998).Ann Arbor, MI,Columbia University.
54. Wong, Issabel(1991).From Reaction to Synthesis: Chinese Musicology in the Twentieth Century.Comparative Musicology and the Anthropology of Music: Essays on the History of Ethnomusicology,Chicago:
55. 呂訴上(1954)。臺灣流行歌的發祥地。臺北文物，2(1)，93-97。
56. 李吉提(1995)。古琴曲《陽關三疊》的曲式結構特點：兼談中國傳統音樂結構的某些共性因素。中國音樂學，2，101-06。
57. 李吉提(1996)。再談線性音樂的線性分析技術。西安音樂學院學報，4，45-46。
58. 林太崴(2008)。「我聽得人家說……」：從《雪梅思君》的走紅，到歷史錄音的再探索。「東亞的78 轉時代：錄音與連結式現代性」國際研討會，臺北:
59. 林太崴(2009)。日治時期臺語流行歌的商業操作：以古倫美亞及勝利唱片公司為例。臺灣音樂研究，8，83-104。
60. 曾臻(2004)。中國傳統音樂「線性」現象及成因分析。西南師範大學學報（人文社會科學版），30(2)，167-69。