從聲腔曲韻到器樂語境：《變體孟姜女》的互文背景及再語境化歷程論析

Adaptations of Folk Songs to Instrumental Music: On the Intertextuality and Recontextualization in Variations on Meng Jiangnu

《變體孟姜女》一曲主要以民歌【孟姜女哭長城】為素材，運用「加花變奏」、「變換音區音位」、「填充型變奏」等手法加以發展，復以【軟詩篇】的過門樂音穿插，改變結構並予以擴充。本文討論作品與河南民間音樂素材的互文建構關係及其在古箏演奏藝術上的再語境化歷程，研究聚焦於文本間性的剖析和語境易改所致生的音聲異化，在歷時性的背景中梳理《變體孟姜女》的文本織理，並揭示民間音樂文本進入到新的表演語境之際所發生的音樂語義轉換歷程。研究發現，民間音樂文本素材的引用在意義上是河南地方音調與風格素質的介入，《變體孟姜女》透過民歌與說唱音樂素材在古箏作品中的交織，體現了傳統文本的可讀性和可寫性。器樂化之後的《變體孟姜女》在箏樂表演語境之下包容了新舊文本的立體交織與互文對話，這一項再語境化的藝術行動成就了一個兼具傳統再生意義和文本編織創意的作品。從聲腔曲韻到器樂語境的轉向過程中，因古箏技法的演繹突出了河南箏樂的音聲特點與表演美學，體現了具有河南聲腔特色的地方音樂風格。

Variations on Meng Jiangnu is a renowned piece of zheng music which is written based upon the folk song,“Meng Jiangnu Crying at the Great Wall.”Techniques used for variations include ornamentation, alterations of register, fill-in variations, and insertion of bridge passages from the qupai,“Ruan Shipian”to change its melodic structure and to create richness and complexity for the work. This paper discusses the intertextual relationships between folk musical elements in Henan region and the process of recontextualization in the art of zheng performance. The research focuses on analyzing the intertextuality and the defamiliarizing effect of sound, which come as a result of changed context, exploring the diachronic verbal texts of Variations on Meng Jiangnu, and unveiling the transformation, which happens in the process of adapting folk musical elements for a brand-new performance context. Through the study, the author concludes that the quotations of folk musical elements bring about an intervention of Henan’s local tone in the content and style. Variations on Meng Jiangnu demonstrates that traditional texts can be re-read and re-written to generate completely new works for zheng through intertextual interweaving of folk songs and fragments from narrative-singing music. The instrumental adaptation in Variations on Meng Jiangnu showcases the potential for the genesis of a new work of zheng music with interwoven texts in multi-level dialogues and the result embodies the regenerative innovation of tradition and the ingenuity of intertextual compositional strategies. The transformation process from folk songs to an instrumental work for zheng music highlights the acoustic features of vocal techniques unique in Henan and ultimately brings forth a highly stylized piece with local colors.