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"Devil on the fiddle" : the musical and social ramifications of genre transformation in Cape Breton musicMacDonald, Jennifer Marie. January 2006 (has links)
In 1995, fiddler Ashley MacIsaac released the album Hi, How Are You Today? that featured MacIsaac performing traditional Celtic tunes accompanied by modern rock instruments. The musical genre transformation on the album (notable because people who were not fans of Celtic music bought this album, tracks were released for airplay, and music videos accompanied the singles) can be studied according to the types of genre transformation outlined by Alastair Fowler in Kinds of Literature. If MacIsaac's goal was to offer a popular rock album while playing traditional tunes on the fiddle, critics and members of his audience inevitably questioned his motivation, from which charges of pandering and exploitation followed. Alternate interpretations stressed that MacIsaac was merely adapting traditional music to reflect a changing musical climate. This thesis examines such perspectives, along with the global phenomenon of modernizing folk music amidst the ambiguous boundary between popular and folk musical genres.
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An Instrumental Song without Words about Hope: A Melodic Motivic Analysis of the Third Violin Sonata by Charles Ives (1874–1954)Kim, GaLeoung 05 1900 (has links)
The American composer Charles Ives is well known for musical quotation/borrowing: composing music with or from pre-existing musical sources, such as folk tunes, hymns, chants, or other composers' works. His Third Violin Sonata is one of few works that used his unique technique of cumulative setting with only hymn tunes. For analysis of his instrumental music, the text of the hymn tunes is generally disregarded, as the compositions are for instruments. Ives' Third Violin Sonata is challenging to understand in comparison with other violin sonatas, because it lacks information such as titles and subtitles. Even though Ives never mentioned the piece's meanings or extramusical meanings, almost all the elements of the piece indicate hope as a common theme. This dissertation examines which hymn tunes were quoted in the piece, gives the meanings of the hymn tunes, and discusses how Ives uses these tunes as themes with textual meanings. The study includes a brief life of Ives and his historical circumstances and presents a brief musical analysis. The research should give a better understanding of the piece to performers and others curious about it.
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"Devil on the fiddle" : the musical and social ramifications of genre transformation in Cape Breton musicMacDonald, Jennifer Marie. January 2006 (has links)
No description available.
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《納書楹曲譜》研究—以《四夢全譜》為核心 / A study about Nashuying Qupu with emphasis on Simeng Quanpu林佳儀, Lin, Chia Yi Unknown Date (has links)
乾隆年間蘇州曲家葉堂刊行的《納書楹曲譜》,為戲曲工尺譜之首,不僅在曲譜的發展脈絡中具有開創意義,且兼具選本性質,又為崑曲音樂作法集大成之作品,故筆者以其為研究對象,期對乾隆時期崑曲劇目的內容、作曲手法的發展,及葉譜承先啟後的重要性,展開翔實且深刻的論述。
葉堂於乾隆49年(1784)至60年(1795)間陸續刊行的曲譜,包括初刻《西廂記譜》、《納書楹曲譜》(正續外補四集)、《四夢全譜》、重鐫《西廂記全譜》,皆為帶曲文、板眼及工尺,不帶科白的樂譜,一時風行,號稱「葉譜」,其內容豐富,計收566齣/套曲,且訂譜成就向受稱道,影響深遠。筆者於撰述時,首先梳理乾隆時期蘇州的崑曲活動、葉堂之志趣及交遊、葉譜的刊行及影響,以為全文論述之基礎;繼而開展兩個主要的關注面向,第二章為葉譜選錄的內容,第三、四章則為葉堂訂譜的作法,為集中焦點,乃選擇最具曲樂創作意義之《四夢全譜》為核心,討論葉堂如何為馳騁才情、不拘格律的湯顯祖《四夢》曲文訂譜,以見在曲律及曲樂發展上的重要意義。
就葉譜選錄的內容,筆者歸納其特色有三:(一)「散齣」與「全本」兼收:《納書楹曲譜》選錄自元至清前期,名家名作與時俗流行的散齣,而《西廂記譜》與《四夢全譜》則為全本劇作。(二)「劇」與「曲」雙重觀照:除大量選入有曲可唱之演劇散齣,兼及新興時劇,又收錄部分可供清唱的散曲及散齣,尤其好尚北套曲。(三)「流行」與「追憶」並存:除選入當時流行的劇目,又有《千鍾祿‧慘睹》等,當是因葉譜收錄而引領演出風潮,至於《桃花扇》等漸次退出劇壇的散齣,葉譜的記錄則帶有追憶性質。再將葉譜收錄的內容與其前《九宮大成譜》等、其後殷溎深傳譜等刊行的曲譜相較,則可見收錄內容頗為相近;然而,曲譜的性質,則由重「曲」轉而至重「戲」,頗可比喻為「加上板眼、工尺的《綴白裘》」,由以記錄唱腔為主之樂譜,變為於演出頗有助益之臺本。
關於葉堂訂譜的作法,筆者以《四夢全譜》為核心,第三章先論「宛轉相就」之法,討論葉堂如何改調就詞,在譜曲時妥貼適應湯顯祖不盡合律的曲文。首先析論其中較富變化的集曲作法,以見不同曲牌的摘句如何銜接為集曲;其次,取鈕少雅《格正還魂記詞調》、馮起鳳《吟香堂牡丹亭曲譜》、劉世珩《雙忽雷閣彙訂還魂記曲譜》,與葉堂《納書楹四夢全譜》共同參照,綜論並評議各譜宛轉相就的處理方式,相較於諸家的作法往往較向「律」傾斜,葉堂訂譜的特殊之處在於:追求文、律、樂之間的平衡,故可見增刪部分曲文字句、移動板位以使語氣更為流暢、致力於以樂傳情,某些作法甚至遊走於合律邊緣,葉堂的手法固有獨到之處,然宜置入清前期曲律及曲樂發展的背景下考察,由《南詞新譜》、《南詞定律》、《九宮大成譜》漸次收錄《四夢》曲牌,可見曲律鬆動之趨勢,這些迥異於往的曲牌,無法套用既有腔調,故需曲譜記錄唱腔,然而,曲譜的刊行,雖便傳唱,卻也形同「定譜」,若過度襲用,反而侷限曲調發展。
第四章則比較諸譜《四夢》之曲腔,切入點有二:其一乃葉譜本身作法之比較,葉堂於相同曲牌,鑑於情境不同,各有變化發揮,展現曲牌音樂在律定字句及點板之下的活腔作法;其二乃與其他曲譜之比較,取葉堂為《四夢》所訂之曲腔,與其前《南詞定律》、《九宮大成譜》、其後《遏雲閣曲譜》等相同曲牌比較,固不乏曲腔一脈相承者,然亦見細節處的板眼、行腔參差變化,甚至腔句、曲牌之音樂構思不盡相同者,可見乾隆時期曲腔活潑變化之情形。最後,藉由比較的結果,探討曲樂相關問題,在曲文字聲與曲腔旋律方面,「依字行腔」雖是原則,然遇韻腳等處,則往往需配合全曲的結音;在曲牌行腔與固定曲調方面,每一牌調雖有其音樂框架,但實際的行腔,則是字聲與曲調互相調適而成;而綜觀葉譜的音樂成就,除首次為《四夢》訂定完整的工尺譜,更在於其作法有繼承亦有開創,可謂集曲樂作法之大成。
本文最後以「葉堂之曲樂觀點」、「葉譜之價值」綰結全文。就葉堂的觀點而言,重樂輕律,以盡度曲之妙;雅俗兼備,適度採錄時俗唱法、流傳劇目,俱見一代曲家的朗闊襟懷。就葉譜之價值而言,於刊行曲譜具有開創意義,為首度刊行之崑曲戲齣唱譜,收羅甚廣,兼有選本性質,乃藉譜以傳曲;且於曲樂發展具獨特貢獻,藉實際的訂譜成果,彰顯「不合律即不可歌」之謬,並將訂譜的觀照對象,由單隻曲牌之行腔,擴展為套內諸曲的和諧,其所譜曲腔,不僅穩稱湯顯祖揮灑才情之曲文,促成《四夢》在舞台上展演流傳,且安腔訂譜之法亦成為典範。
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