谱外之“谱”的声音秩序:琉球民谣合奏“交互”即兴表演民族志(上)

Beyond the Notation:An Ethnography of“Interactive”Improvisation in Ryukyu MInyōEnsembles(Ⅰ)

本文在历史文献与"表演观察"田野工作之间,书写"交互"即兴表演民族志。以琉球民谣"歌三线"为研究个案,关注其合奏中表演者之间的"交互"即兴现象,尤其是"一·二扬调子"定弦之"快弹"曲目的表演。从民谣工工四到谱外表演之"谱",尝试"回到"歌、三线、衬腔和氛围音色这三重声音空间的"交互"表演现场,描述与分析表演者如何在具体的表演情境和表演过程中,对话作为"前理解"的历史模式,融入表演者"作乐"的声音与社会秩序感,进行有条件变奏策略选择,从而在表演过程中即兴生成音乐。

This article aims to write an ethnography of"interactive"improvisational performances based on historical literature and fieldwork of"performance observation".Taking Ryukyu minyōaccompanied by sanshin as a case study,this article particularly focuses on a quick tempo section played with sanshin on Ichi,ni-agi chōshi(一、二扬调子,first-and second-strings raised tuning).Beyond the traditional kunkunshi transcription,this article will examine sound space built with song,sanshin,lining tunes and timbre,to describe and analyse how the performers communicate with pre-understanding,how they are involved in the music-making and the social order,and are conditionally selective in the specific performance circumstances.