篇名 | 客家「傳仔」的押韻現象探析--以《十八嬌連勸善歌》為例 |
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卷期 | 9 |
並列篇名 | Hakka |
作者 | 楊名龍 |
頁次 | 121-147 |
關鍵字 | 傳仔 、 歌仔冊 、 山歌 、 押韻現象 、 Hakka 、 Folk song booklets 、 Kua-a-tsheh 、 Folk songs 、 Rhymes |
出刊日期 | 201201 |
客家的民間文學中,「傳仔」是一種客家說唱文學,與客家山歌詞或是採茶戲之間有著密切的關係,與閩南語的「歌仔冊」之間似乎也有關聯性。本文採用聲韻學的角度切入,從傳仔的押韻現象中,來瞭解傳仔押韻的韻腳與山歌歌謠的音樂性之間的關係,以及討論韻字多用平聲的原因。並且,從傳仔與歌謠間的相關程度,以瞭解傳仔這類民間文學的押韻特色。另外,筆者也試著從傳仔與歌仔冊的押韻現象比較中,了解個別的相異程度及兩者之間的關聯性。希望透過歌謠與歌仔冊的相互比較中,更能呈現傳仔的押韻現象及特色。
Hakka folk literature, “Folk song booklets” rap is a Hakka literature, has a close relationship between the Hakka folk songs or tea-picking opera, and Taiwan Min “kua-a-tsheh” seem to have relevance. The article uses rhyme in mind, from rhyming, to understand the rhyme and music of
the folk song Ballad of the relationship between, and discuss the causes of rhyming words with a level tone. And, made between ballad and how relevant to understand this type of rhyming feature of folk literature.
In addition, I tried to pass from the register of Folk song booklets and kua-a-tsheh quite rhyme,to understand the extent of individual differences in order to understand the correlation between the two. Through songs and intercomparison of kua-a-tsheh, better rendering and mass rhyme phenomena and characteristics.