唸歌為十七世紀漢人移民來臺後，在臺灣漢族福佬民間裡流傳最早、最廣的說唱曲藝，然於國民政府遷臺後逐漸沒落。約莫三十年前在學界的發掘下，藝師重現於舞臺，唸歌遂逐漸重現為人們日常生活的娛樂項目之一；自2009年起，更受到政府機構重視，文化部文化資產局指定唸歌藝人楊秀卿為重要傳統藝術保存者。本文旨在探究唸歌傳習於今之現況，並以藝師楊秀卿及其獲傳習補助弟子為主要對象。筆者以2012年起至今之實地調查資料為基礎進行論述，首段、二段先論述藝師楊秀卿及各傳習藝生之音樂技藝；三段「傳習現況」側重描寫當今藝生之學習方式與其義務、與藝師之互動；四段「藝生展演」論述當今展演形式與展演場域之變遷，並歸納出因學習時間與年齡之限制、展演場域之變遷，影響當今藝生在演唱與器樂彈奏上的傳習品質。

Niange is a traditional performing art in Taiwan. The history of this art can be traced back to the 17th century when groups of Chinese immigrated from southeast China. Those immigrants brought in not only their life style but also their entertainment and music. Yang Hsiu-ching (1934- ) is one of the most famous niange singers in Taiwan nowadays. In 2009, she was designated as a preserver of important traditional arts by the Bureau of Cultural Heritage of the Ministry of Culture. This paper presents the apprenticeship of Niange from the author’s fieldwork during 2012-2015. Through fieldwork, I find that the skills of this art is hard to be passed down successfully because of the following reasons: the age of the apprentices, the hours of learning, the place to perform, and the preference of the audience. These reasons influence the quality of the preservation and transmission of Yang Hsiu-ching's niange.