北管戲曲的語音研究─以薪傳藝人潘玉嬌的語音為主

碩士 === 國立新竹教育大學 === 進修部語文教學碩士班 === 93 === This thesis probes into the Pei-kuan pronunciation of Pan Yu-chiao, a winner of the Chinese Heritage Award, with the Pan Yu-chiao Sings Luan-t’an Opera, collected in Chinese Traditional Music Series 3 published by the Council for Cultural Planning and Develo...

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Main Author: 李文隆
Other Authors: 張金城
Format: Others
Language:zh-TW
Published: 2004
Online Access:http://ndltd.ncl.edu.tw/handle/62764139323400185382
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spelling ndltd-TW-093NHCT56250052015-10-13T13:01:04Z http://ndltd.ncl.edu.tw/handle/62764139323400185382 北管戲曲的語音研究─以薪傳藝人潘玉嬌的語音為主 李文隆 碩士 國立新竹教育大學 進修部語文教學碩士班 93 This thesis probes into the Pei-kuan pronunciation of Pan Yu-chiao, a winner of the Chinese Heritage Award, with the Pan Yu-chiao Sings Luan-t’an Opera, collected in Chinese Traditional Music Series 3 published by the Council for Cultural Planning and Development Executive Yuan, R.O.C. as a sample. It includes three sections of Pei-kuan folk opera: Lo Ch’eng Writes a Letter, Su-wu Pastures Goats (both in Fu-lu system), and The Lei-shen Cave (in Hsi P’i System). In the research, faithful recording of the singing of the operas and reciting of the lines will be made, concerning the three repertoires. Further, the recording will be studied further, through analysis, comparison, and in-depth discussion. The major findings are as below: 1. In Pei-kuan pronunciation, there are 18 vowels and 34 consonants, which fall into 4 major intonations, similar to that in Mandarin. Concerning the articulation of sound of words, the rule is absent. 2. Regarding the pronunciation, there is no significant difference between the Hoklo System and the Hsi P’i System. However, to sing with a falsetto voice or a natural voice will exert a significant impact on the differences in pronunciation, especially in the articulation of consonants. 3. In operas of Pei-kuan, there is the salient feature of delaying or improvising the final tone of the operas, mainly on the vowels of the words’ sounds. When singing in falsetto voice, the articulation tends to end in “i” sound. When singing in a natural voice, the sound tends to end with an “a”. 4. There is no significant difference between the Pei-kuan articulation and the Mandarin pronunciation, in both vowels and consonants. Moreover, it is obviously influenced by the Southern Fujian dialect. In Pei-kuan, there is in no diphthong vowel, “ㄈ”, nor tongue rolling vowels, “ㄓ, ㄔ, ㄕ”, as well as the absence of the voiced vowel “ㄖ”. The combination of the sounds ㄩ and ㄩ is pronounced as the combination of “i” and “i”. Meanwhile, in Pei-kuan, there is no difference between “ㄣ” and “ㄧㄣ”, “ㄥ” and “ㄧㄥ”. They all are pronounced as apical sounds. Nor is there the tongue rolling sound “ㄦ”. Meanwhile, in Pei-kuan, there are the vowels “ö”, “io”, “ui”, and “iu”, which are absent in Mandarin. 張金城 2004 學位論文 ; thesis 119 zh-TW
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description 碩士 === 國立新竹教育大學 === 進修部語文教學碩士班 === 93 === This thesis probes into the Pei-kuan pronunciation of Pan Yu-chiao, a winner of the Chinese Heritage Award, with the Pan Yu-chiao Sings Luan-t’an Opera, collected in Chinese Traditional Music Series 3 published by the Council for Cultural Planning and Development Executive Yuan, R.O.C. as a sample. It includes three sections of Pei-kuan folk opera: Lo Ch’eng Writes a Letter, Su-wu Pastures Goats (both in Fu-lu system), and The Lei-shen Cave (in Hsi P’i System). In the research, faithful recording of the singing of the operas and reciting of the lines will be made, concerning the three repertoires. Further, the recording will be studied further, through analysis, comparison, and in-depth discussion. The major findings are as below: 1. In Pei-kuan pronunciation, there are 18 vowels and 34 consonants, which fall into 4 major intonations, similar to that in Mandarin. Concerning the articulation of sound of words, the rule is absent. 2. Regarding the pronunciation, there is no significant difference between the Hoklo System and the Hsi P’i System. However, to sing with a falsetto voice or a natural voice will exert a significant impact on the differences in pronunciation, especially in the articulation of consonants. 3. In operas of Pei-kuan, there is the salient feature of delaying or improvising the final tone of the operas, mainly on the vowels of the words’ sounds. When singing in falsetto voice, the articulation tends to end in “i” sound. When singing in a natural voice, the sound tends to end with an “a”. 4. There is no significant difference between the Pei-kuan articulation and the Mandarin pronunciation, in both vowels and consonants. Moreover, it is obviously influenced by the Southern Fujian dialect. In Pei-kuan, there is in no diphthong vowel, “ㄈ”, nor tongue rolling vowels, “ㄓ, ㄔ, ㄕ”, as well as the absence of the voiced vowel “ㄖ”. The combination of the sounds ㄩ and ㄩ is pronounced as the combination of “i” and “i”. Meanwhile, in Pei-kuan, there is no difference between “ㄣ” and “ㄧㄣ”, “ㄥ” and “ㄧㄥ”. They all are pronounced as apical sounds. Nor is there the tongue rolling sound “ㄦ”. Meanwhile, in Pei-kuan, there are the vowels “ö”, “io”, “ui”, and “iu”, which are absent in Mandarin.
author2 張金城
author_facet 張金城
李文隆
author 李文隆
spellingShingle 李文隆
北管戲曲的語音研究─以薪傳藝人潘玉嬌的語音為主
author_sort 李文隆
title 北管戲曲的語音研究─以薪傳藝人潘玉嬌的語音為主
title_short 北管戲曲的語音研究─以薪傳藝人潘玉嬌的語音為主
title_full 北管戲曲的語音研究─以薪傳藝人潘玉嬌的語音為主
title_fullStr 北管戲曲的語音研究─以薪傳藝人潘玉嬌的語音為主
title_full_unstemmed 北管戲曲的語音研究─以薪傳藝人潘玉嬌的語音為主
title_sort 北管戲曲的語音研究─以薪傳藝人潘玉嬌的語音為主
publishDate 2004
url http://ndltd.ncl.edu.tw/handle/62764139323400185382
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