頁籤選單縮合
題名 | 南北交加.東西交響:日治時期北港音樂子弟團的分類與發展=Polyphonic Melodies: The Classification and Development of Beigang Amateur Musical Troupes during the Japanese Colonial Era |
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作 者 | 李孟勳; | 書刊名 | 民俗曲藝 |
卷期 | 198 2017.12[民106.12] |
頁次 | 頁127-164 |
分類號 | 915 |
關鍵詞 | 南管; 北管; 西樂; 子弟團; 北港; Lâm-kuán; Pak-kuán; Western music; Tsú-tē troupes; Beigang; |
語文 | 中文(Chinese) |
中文摘要 | 北港地區在十七世紀即形成繁榮的港口市鎮,加上媽祖廟的香火鼎盛,子弟團的活動興盛,其樂種相當多元,包括南管、北管、十三腔、京戲、九甲戲、歌仔戲、西樂等。本文討論北港的音樂子弟團在日治時期的分類和發展。日治時期北港子弟團的樂種和組織均增加,傳統和現代交會。在每年朝天宮聖母遶境行列中,子弟團以「南的」、「北的」、「西的」為群組排列,形成地方社會的秩序。日治末期的皇民化運動,子弟團的活動暫時受到壓抑,但並未消失。 |
英文摘要 | Beigang had been a busy port town since the seventeenth century. The popularity of the Mazu Temple and active amateur musical troupes (tsú-tē troupes) both added to the prosperity of the town. Musical troupes in Beigang include lâm-kuán, pak-kuán, sip-sam-khiang, Beijing Opera, káu-kah-á-hì, kua-á-hì, and western music. In this paper, I discuss the classification and development of amateur musical troupes in the Japanese Colonial Era. During the Japanese Colonial Era, the types and number of tsú-tē troupes both increased, integrating tradition and modernity. In the annual Mazu procession of Chaotian Temple, the tsú-tē troupes fell into "South," "North," and "West" groups according to their respective styles and positions in the social order. Activities of the tsú-tē troupes, though temporarily curbed by the Kominka movement of late Colonial Japanese Era, had never died down. |
本系統之摘要資訊系依該期刊論文摘要之資訊為主。