臺灣當代客家流行音樂初探──論結構上的平面之美

A Preliminary Study of Contemporary Hakka Pop Music in Taiwan: On the Aesthetics of the Synchronic Structuralism

音樂，是由聲音組成的一種藝術形式，將聲音打散成最小組成音，便是音樂中基本音符的構成。因而音樂是屬於形式之美，是在時間流動下不拘於某一形式的詩。本文將從共時平面上的結構主義與去熟悉化來探討客家音樂中，聲調和諧之美、客與非客旋律和諧之美、語言形式與意境之美，以及內含的客家民間文學之美等。其中，語言形式之美含故事性的平鋪直敘、詩意篇篇式的美麗圖畫，而後者同時也是一種寓意象徵之美，雖平鋪的歌詞，但由音與詞而帶領聽者進入一幅詩意滿滿的畫當中，語言文字的寓意象徵，也包括一種對社會性的反動思維。一首歌曲的賞析，不能單從一個面向來理解，由不同的個別而結構成一個整體，甚至整體美大過於個別結構美的相加。本文結語當中亦將總結客家音樂美學的生活化問題，含客家音樂融入式客語教學。

Music is an art form composed of sounds. The sound is broken into the smallest compositional sound, which is the composition of the basic notes in music. Therefore, music is a form of beauty, a poem that is not restricted to a certain form under the flow of time. This paper will explore the contemporary Hakka pop music in Taiwan from the structuralism and familiarization on the synchronic plane. And we will study from four points, including the beauty of tones' harmony, the beauty of harmony between Hakka and non-Hakka styles, the beauty of language form and artistic conception, and the beauty of Hakka folk literature contained in Hakka music. Appreciation of a song cannot be understood from one aspect alone, from a single individual to a whole, and even the overall beauty is more than the sum of individual structural beauty. The conclusion of this article will also summarize the living issues of Hakka music aesthetics, including Hakka music immersed in Hakka language teaching.