二十世紀初的中國樂人受新文化運動影響，加速改變固有的中國音樂模式。旅居上海的廣東樂人作為中國樂人的一員，由於身處華洋文化高度混雜的環境，除了可以通過多種渠道來聆聽不同音聲外，他們亦可以與不同樂手的交流，從而吸收多元的音聲素材，並將新的音聲元素運用在自身熟悉的廣東音樂表演和錄音中，使廣東音樂成為1909–49 年間的中國音樂發展中，其中一種變化最大的傳統樂種。 / 上海的廣東樂人中，以演奏廣東音樂(器樂)的樂人流動性最高，他們除了跨地域(上海、香港等)的流動外，還有跨樂種(各廣東樂種、江南絲竹及西洋音樂等)的流動，這些流動加上廣東音樂唱片的製作，促成了新音聲的出現和傳播。本文首先重構這些廣東樂人在上海生活時可以聽到的音聲，以作為新音聲被產生的依據；然後通過當時在上海出版的唱片目錄、教材、報章及樂譜等刊物，並參照上海以外相關的出版資料，勾勒出他們在上海的聲境和樂人圈子內的經歷。從這些經歷中，可以發現這三種廣東新音聲，包括江南絲竹、西洋音樂及新使用的樂器組合，是由高流動性及具獨特影響的唱片製作所催生。本文亦配以錄音或樂譜分析，來顯示廣東新音聲背後的社會以及人際網絡的複雜性及其在廣東音樂發展史上的意義。 / Cantonese musicians were influenced by the New Cultural Movement which enhanced the change on the traditional Chinese music in the early twentieth century. Those Cantonese musicians who lived in Shanghai were benefited by the mixed Chinese and foreign culture in Shanghai. They could listen to different sounds and exchange with different musicians. Hence, they could adapt Cantonese music to these non-Cantonese sound elements, which made Cantonese ensemble music become one of the traditional Chinese musical genres with dramatic changes in 1909–49. / The Cantonese musicians who performed Cantonese ensemble music had the highest fluidity. More than the fluidity among regions (Shanghai, Hong Kong etc.), they also experienced the fluidity among musical genres (different Cantonese musical genres, Silk and Bamboo ensemble music and Western music etc.). With the assistance of phonograph production, New Cantonese sounds started to exist and transmit. / This paper first reconstructs the sound types heard by Cantonese ensemble musicians in Shanghai as a comparison to the new Cantonese sounds produced in the future. Then, this paper describes the soundscape and the musicians’ experience among social relationships by studying the phonograph catalogues, instruction books, newspapers and score published in Shanghai and related publications outside Shanghai. From the experience of the Cantonese ensemble musicians, it is found that the three types of new Cantonese sounds: Silk and Bamboo ensemble music, Western music and new ensemble musical instruments were catalyzed by the high fluidity of the musicians and phonograph production. With the analyses on recordings and/or score, this paper shows importance of the complexity of the social and personal networks behind the new Cantonese sound. / 黃廷堯. / Thesis M.Phil. Chinese University of Hong Kong 2017. / Includes bibliographical references (leaves ). / Abstracts in English and Chinese. / Title from PDF title page (viewed on …). / Huang ting yao. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only.
| Identifer | oai:union.ndltd.org:cuhk.edu.hk/oai:cuhk-dr:cuhk_1292386 |
| Date | January 2017 |
| Contributors | 黃廷堯 (author.), (thesis advisor.), Chinese University of Hong Kong Graduate School. Division of Music. (degree granting institution.), Huang, Tingyao (author.) |
| Source Sets | The Chinese University of Hong Kong |
| Language | Chinese, English |
| Detected Language | English |
| Type | Text, bibliography, text |
| Format | electronic resource, remote, 1 online resource ( leaves), computer, online resource |
| Rights | Use of this resource is governed by the terms and conditions of the Creative Commons "Attribution-NonCommercial-NoDerivatives 4.0 International" License (http://creativecommons.org/licenses/by-nc-nd/4.0/) |
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