臺灣廟會活動中南管系統文陣器樂曲曲目探討

The Investigation of the Instrumental Repertoire of Wen-zhen in Nanguan System in Taiwanese Temple Fairs

「陣頭」源起於廟會，是臺灣獨特的廟會文化。每當神明遶境、進香等時，都會有陣頭參與遊行，不僅增添祭典儀式的熱鬧氣氛，也使民俗技藝得以保存。雖然遶境、進香等的主角是神明，但吸引民眾「看熱鬧」的焦點則是陣頭的表演。廟會活動提供民俗陣頭表演的機會，而陣頭表演也提升廟會的藝術性，因此遶境、進香等不僅是宗教祭典，也是民間藝術活動。除少數具喪葬意涵的陣頭外，多數陣頭都能用於迎神賽會中。
臺灣廟宇多，民間信仰發達，連帶的也促使陣頭蓬勃發展，不僅數量可觀、種類複雜，其分類方式長期以來分為「文陣」與「武陣」兩種，直至西元1990 年代以後，才有學者因文陣與武陣的分類方式，無法涵蓋臺灣所有陣頭，乃有從各種不同的角度切入所作的各種不同的分類方式。
就音樂性陣頭言，主要可分為南管、北管音樂兩大系統，而本文所要敘述的是南管系統文陣，包括車鼓陣、竹馬陣、牛犁陣、桃花過渡陣、七響陣、太平歌陣、文武郎君陣等。南管系統文陣之音樂可分成「歌樂」與「器樂」兩部分，但以歌樂為主，然本文探討的是器樂部分。除文獻整理、歸納、探討、比較、研究外，主要以筆者多年來實地調查之所得，分成臺灣南管系統文陣器樂曲曲目、臺灣南管系統文陣器樂曲與其他樂種之關係兩大部分，來敘述臺灣南管系統文陣器樂曲之「曲目」。

Parade formations (Zhen-tou in Chinese) originated from temple fairs, which is a unique temple culture in Taiwan. Whenever there are pilgrimages or worship, there will be formations in the parade procession, which not only makes the ritual and celebration even more lively and boisterous, but also preserves the folk arts at the same time. Although deities are the main reason for these pilgrimages or worship, the focal point is always the performance of parade formations that excites the populace. Temple fairs offer the chance for folk formations to perform; meanwhile, the performance of formations enhances the artistic quality of a temple fair. Thus, pilgrimages and worship are not only a religious ritual and ceremony, but folk art activities. Most of the formations would be displayed in various sacred processions and activities, except those for funerals and burial ceremonies. There are many temples and a highly-developed folk religious culture in Taiwan, which contributes the development of parade formations. The number of the troupes is quite substantial with a great variety of performing categories. For long, the style has been classified into Wen-zhen and Wu-zhen. Until 1990, scholars believed the dichotomy of Wen-zhen and Wu-zhen were not adequate to cover all the formation types in Taiwan, and then promoted different classifications based on different perspectives. In terms of musical formations, there are two major music systems: Nanguan and Beiguan. This paper will mainly discuss Wen-zhen in Nanguan system, including Cheguzhen, Zhuma-zhen, Niuli-zhen, Taohuaguodu-zhen (Peach Blossom Takes the Ferry), Qixiang-zhen, Taipingge-zhen, Wenwulangjun-zhen. The music of Wen-zhen in Nanguan system could be divided into “the vocal music” and “the instrumental music,” and the vocal music predominates over the other. Yet, this paper will focus on the discussion on the instrumental music. Apart from literary review, induction, investigation, comparison and study, the method I have applied mostly for long is on-site investigation, and based on my observation, there are Taiwanese formations survey, instrumental Wen-zhen music for singing and dancing, instrumental Wen-zhen music solely for singing, and common music repertoire. We could portray and comprehend the “repertoire” of Wen-zhen music in Taiwanese Nanguan system byclarifying its relationship to other music genres.