Dissertationen zum Thema „Hakka folk-songs“

碩士
國立屏東教育大學
文化創意產業學系
99
Since the ancient times in Taiwanese history, the migration of the Hakka ancestors was usually along the natural environment that had a close relationship with the mountain, which also provided lots of chances for them to study the climate changes. Therefore, since that time they understand the climate and cultivation of tea and crops, etc. and thus developed a thrift-working spirit. As the Hakka ancestors live in the mountain, they often sing Hakka folk songs in order to reduce the tediousness and fatigue which come from works, and the Hakka folk songs become an important spiritual food for them. Watching the “Hakka tea-picking opera” and “Group performance of trick” are the best entertainment for the ordinary people in Hakka country life. Moving house is very ordinary after the marriage of Hakka couple. Whenever there is a party, people will celebrate with each other by eating millet cake and singing folk songs, this is the best way to recall their life scene of their hometown in the past. A folk song contains 7 words, 4 sentences and 8 sections that there are 28 words in each section. Moreover, each sentence in the section is formatted with phrases by four and three words separately. Each sentence should be symmetric, meaningful to link up and rhythmic, otherwise, it cannot become a Hakka folk song. Words inserted outside melodic form prescribed in a poem, lots of ingenious skills on sound, including linking, turning, pulling and dragging of sound, can produce a sweet and agreeable Hakka folk song. Especially the words inserted outside melodic form prescribed in a poem can help in forming a genuine folk song with Hakka’s accent. These kinds of tremendous and highly artistic elements in the folk songs are admired by lots of people, and thus Hakka folk songs can be survival until now. This article introduces “The analysis of Taiwan’s Hakka Folk Songs” as the research topic, and divided into six chapters: The first chapter, “Introduction” – introduces the research by lots of categories that includes the motivation, purpose, expectations, content and methods adopted, research scope and limitations. The second chapter, “Literature review” – describes the origins of Hakka, migration of Hakka through Taiwan, usage of Hakka language of Taiwan Hakka, Hakka folk songs and other literature’s studying. The third chapter, “The formation and development of Taiwan Hakka folk songs” – investigates and discusses mainly on the formation, features and development of Taiwan Hakka folk songs. The fourth chapter, “The application of Taiwan Hakka folk songs” – contains a comparative analysis, collocation and application of lyrics like commodities. The comprehensive content of Taiwan Hakka folk song, ordinary life’s topic, rich variations and features of vocabularies are also the focuses of this chapter. The fifth chapter, “The presentation of Taiwan Hakka folk songs” – introduces a lot of traditional performers of Taiwan Hakka folk songs which the following people are the examples. 1. Taiwan Hakka folk song that is introduced by Xu A Cai who is a Taiwan’s Hakka tradition folk song. 2. The process of how Lai Bi Xia takes a fancy on Hakka folk song. 3. Tradition and impromptu of Hakka folk song’s performance of Xu Mu Zhen, just like the singing queen of Hakka folk song, Liu San Mei. 4. Hakka folk songs are not only limited to solo and duet, Lin Pei Jun and Hu Quan Xiong compiled a Hakka folk choir which presents a different way of Hakka folk songs. 5. There are lots of variations of Hakka folk songs. Chen Shuang Xiong tunes the melody on the Hakka folk song’s book and produces lots of beautiful creations. 6. Experience shared by Hakka artists Ye Xiang Lan and Ceng De Yin who have performed the “Hakka tea-picking opera” and “Group performance of trick” extremely well and exciting. 7. Hakka folk songs can be performed with simple traditional musical instruments which are memorable, Xie Qi Guo’s pay lots of effort on teaching of musical instruments. 8. Xu Yun Fang, who produced film and television podcasting on Hakka cultural programs for more than forty years, has a very deep expectation on Hakka culture. The sixth chapter, “Conclusion” – summarizes the content and focus of the research. As a member of Hakka, we should have an obligation and responsibility to spread the Hakka culture, including the language and folk songs, etc.

博士
國立臺中教育大學
語文教育學系碩博士班
100
Research on Rhythms of Hakka Folk Songs Rhythms of Hakka folk songs contain two fields: literature and music. We can explore the beauty of literature as well as music of Hakka folk songs via the combination of literature and music. The current research trend is interdisciplinary explorations. Although music and literature are different fields, they can mutually annotate through the perspective of “rhymes” owing to the base of the variation of rhythms, showing their common essence of art. The dissertation contains nine chapters. The first chapter is introduction, describing the motivation and the purpose of the study, the scope and the methodology of the study, as well as previous research. The second chapter is the origin and the development of Hakka folk songs, containing the definition of Hakka folk songs, the origin of Hakka folk songs, the legend of the origin of legend and the research profiles of Hakka folk songs. The third chapter is the definition of rhyme, including the overview of rhyme, the performance of rhythm in language and the performance of rhythm in music. The forth chapter is the phonological rhythm of Hakka folk songs, discussing four aspects: rhythmic arrangement, the difference of level and oblique tones, the forms of syllables, and the analysis of rhyme of the elements of syllables. The fifth chapter is the rhythm of rhetorical figures of Hakka folk songs, describing rhyme forming via adding characters, rhyme forming via reducing characters, rhyme forming via repeating characters, and rhyme forming via the variation of character order. The sixth chapter is the structure of rhyme of Hakka folk songs, including structure overview, the performance of the rhythm of structure of Hakka folk songs, and the meaning of the rhythm of structure of Hakka folk songs. The seventh chapter is the music rhythm of Hakka folk songs, including tune classification and analysis explanation of Hakka folk songs, tune analysis of Hakka folk songs and conclusion. The eighth chapter is the research on language and music rhythm of Hakka folk songs, containing two researches: same lyrics but different name of tune and same name of tune but different lyrics. The ninth chapter is conclusions. The conclusions of the dissertation are as follows: Rhythms in all fields share some characteristics in common: a certain period of time, periodicity and repetitions. The rhythmic arrangement of Hakka folk songs is mainly end rhymes. Among them, the first, second and forth sentences rhyme most. Rhyming every sentence contains the most intensive rhythm. Rhyming the first and forth sentence seems to be weak and contains less obvious rhythm. The effects on the rhythm of rhetorical figures are mainly “adding characters, reducing characters, repeating characters and changing character order” which cause the effects of rhythm variation of rapidity and relaxation of language. “Structural unit” of easy rhythm does the most displacement on structure. Finding out phrase structure and music section contain regular and repeated rhythm, same with the rhythm of rhetorical figures and structure rhythm from musical form. Key words: Hakka folk songs, rhythm, rhetorical figures, structure, tune

碩士
國立臺灣師範大學
台灣語文學系
100
Plant’s image is an major material of Taiwan’s Hakka folk songs, not only representing the content of Hakka folk culture, but also creating the metaphorical language for Taiwan’s Hakka folk songs. The purpose of such language is to reflect all levels from individual life to the dreams, feelings, and wishes of the whole Taiwan’s Hakka population. From the viewpoint of language performance, the plant’s image of Taiwan’s Hakka folk songs is to explain abstract ideas by metaphorical and structural language, and the function of metaphorical language is based on daily life, so to state partial understandings of abstract ideas. When Taiwan’s Hakka people use plant’s image as metaphorical source materials, they usually focus on the life cycle of plants, especially on blossom and fruit. Because such images are very clear and closely connected to life experiences, so they can generate tight links to the metaphor of lyrics. After analyzing the metaphorical language formed by plant’s image at language cognition level, we found the lyrics of Taiwan’s Hakka folk songs actually reflect all views of traditional Hakka culture, including the emphasized part and the omitted parts. That is, when we look into the two characteristics in plant’s image of Taiwan’s Hakka folk songs: metaphorical language and partial mapping, both of them reflect the thinking logics of Taiwan’s Hakka population, they also reflec the daily activities and decisions of Hakka population. Finally, the plant’s image in Taiwan’s Hakka folk songs reflects the material, spiritual, and social contents of Taiwan’s Hakka folk culture and represents the actual process of Taiwan’s Hakka people in environment adoption and utilization. When Taiwan’s Hakka people choose specific plant’s image to explain abstract ideas, the basis of cognition is strongly affected by the material, spiritual, and social contents of Hakka folk culture.

博士
中國文化大學
中國文學系
104
Abstract The paper is mainly based on the topic of the Taiwanese Hakka Folk Songs discussing the creations of folk songs among the Hakka people from 1950-2010. The study is focused on the firm pattern of the five-words-four lines songs. The lyrics of these folk songs revealed Hakka people’s life experiences in common and reflected Hakka’s culture in Taiwan. This is a nine-chapter article. In chapter one, the research motive and purpose, researching field, data and limits, research method and structure, data analyses are included. The relations of Hakka folk songs of Taiwan and China are discussed in chapter two. In chapters three and four, the development of Hakka folk songs in Taiwan and their tunes and how they were distributed introduced. In chapter five, the inserted words, empty words and lining words are studied. In chapter six, the composition and singing skills are discussed. And from the point of literary views, the equivoques in these songs are also researched. In chapters seven and eight, the different types of songs and oral expressions in lyrics, musicality and the Hakka ethnic group spirits are studied. And chapter nine is conclusion of the dissertation.

碩士
國立清華大學
音樂學系所
106
This thesis takes Hu, Chuan-Hsiung’s promotion of Taiwan Hakka folk songs as the research object. The range of the research field is from the experience of Hu, Chuan-Hsiung’s promotion of Taiwan Hakka folk songs since 1976 to 2017 and his folk songs which had been composed since 2003. The purpose of this thesis is to understand not only the experience of the promotion of Hakka folk songs but also the characteristic of Hu's songs. Furthermore, the thesis explores his dedication and intention in promoting Hakka songs and the motivation of creating his songs. The first chapter discusses the research motivation, research purpose, pending questions, research scope and the interpretation of nouns and meanings. Chapter 2 discusses the migration of Hakka's ethnic group, Hakka folk songs and the rising of Hakka songs and research methods. Chapter 3 introduces the life of Hu, Chuan-Hsiung, the promotion of Hakka folk songs and the innovation and development of Hakka folk songs. In Chapter 4, the thesis introduces the concept of Hu’s creative work, his teaching thoughts, award-winning records, the artistic conception of Hakka folk songs, lectures and his exhibitions. In his innovative songs, we select ten award-winning representative works and further analyze the structure of his songs including music form, vocal tract, rhythm, mode, intervals and music style. Chapter 5 summarizes the previous five chapters, and we generalize the achievement of Hu’s promoting Taiwan Hakka songs and the characteristic of his songs. The advice of the development of Hakka songs is also provided. This thesis is completed in the methods of field research, collection of materials, and in-depth interviews with Hu. We hope that through the analysis of the materials, the public will have a deeper understanding of Hu’s promoting of Taiwan Hakka folk songs, so that we can make an effort in preserving Hakka culture.

碩士
淡江大學
大陸研究所碩士在職專班
90
The thesis focuses on sorting, compiling, analyzing, discussing and recording the policy and the actual interaction regarding the Hakka folk songs across the Taiwan straits in the past ten years ranging from 2 November 1987, when the Taiwanese are allowed to visit relatives in Mainland China till 2001. The writer hopes that the thesis may induce more studies of the interaction of Hokka folk songs across the Taiwan Straits in the future. The major content of the thesis is as follows: First, the author introduces the history of Hakka, which includes the origin of the Hakka, the territory that the Hakka originally lived, the source and definition of Hakka and the areas where most of the Hakka are living. Second, the author discusses the origin of Hakka folk songs and its development, and explains the social connotation, the culture value and the change of the Hakka folk songs. In chapter 5, the author discusses the exchange of performance of the Hakka folk songs across the Taiwan Straits and analyzes the performance displayed. First, the author explains and analyzes the Chinese Hakka folk songs groups that comes to Taiwan for performance. Second, the author explains and analyzes the Taiwanese Hakka folk songs group that goes to Mainland China for exchanges. Finally, the author explains the exchanges concerning the picking-tea-leaves operas,which are related to Hakka folk songs, and the academic exchanges of Hakka folk songs across the Taiwan Straits. In chapter 6, the author estimates the exchanges above, which includes the influence on the Taiwan Hakka folk songs activities (including the aspects of teaching Hakka folk songs, Hakka mass media, the effect of seminar, the behavior of singing and the environment of performance, etc.) and the influence on the Chinese Hakka folk songs activities (including encouragements to Chinese Hakka folk songs and the singers, the influence on the Chineseopera groups of Hakka folk songs and the influence on other aspects, etc.). Finally, Based on the research and its discovery, the author looks forward to the future of the interaction of the continuous developments on Hakka folk songs and good relationship across the Taiwan Straits, and provides the concrete suggestions.

碩士
國立臺北教育大學
社會科教育學系碩士班
94
UNESCO (United Nations, Educational, Scientific and Cultural Organization) defines ancient ruins and natural reserves as tangible heritage. In 2001, the Organization further listed “Proclamation of Masterpieces of the Oral and Intangible heritage of Humanity” as intangible heritage. In India, Vedic Chanting has a long history of development and it still remains authentic to a certain extent. However, because the manuscripts of Vedic sutras have not been well-preserved, people in India may not have sufficient understanding about it. In 2003, Vedic Chanting has been listed as intangible world heritage for conserving its invaluable culture. In 2002, Taiwan Council for Cultural Affairs (CCA) of Executive Yuan used to outline a number of properties and sites in the area of Taiwan as world heritage. However, most of the properties and sites are considered tangible; intangible heritage like Hakka folk songs are missing from the list. In early age, Hakka folk songs were brought to Taiwan by mainlanders from China. To discover the entire Hakka culture, its artistic feature becomes an important window. Nowadays, since Hakka language is not pervasive and the cultural value is hardly propagated in Taiwan, it is on the verge of extinction. In 2001, Executive Yuan established Council for Hakka Affairs and started to formulate a series of promotion strategies. Thus, the Council has brought new vitality for restoring Hakka culture. Moreover, in order to understand the preservative experience of Vedic Chanting in India, the current study was conducted through literature analysis, field observation and interviewing to compare the social background and real situation of the intangible heritage in India and Taiwan. The current study includes two fields of observations: one in Kerala, an artistic town in southern India and the other in Taipei City, Taiwan. On one hand, sources collected in India dating from 1950 to May, 2006 were studied, focusing on preservative experience and management of Vedic Chanting from the local organizations and government in India. On the other hand, sources collected in Taiwan regarding Hakka folk songs dating from 1983 to May, 2006 were adopted. It was to research the experience and projects related to preservation of Hakka folk songs by Taipei government. This thesis is to compare Vedic Chanting in India and Hakka folk songs in Taiwan, focusing on the following subjects: social backgrounds, artistic features, preservation, operation of funds of local organizations, preservation policies from both governments, academic research and future prospects. Results of the comparison on Vedic Chanting and Hakka folk songs are revealed as follows. Moreover, suggestions are made for future preservative direction of Indian Vedic Chanting and Taiwanese Hakka folk songs. There are six findings in this study: 1.The preservation of Vedic Chanting has the tendency towards “popularization,” while the preservation of Hakka folk songs seeks “elaboration.” 2.In order to keep up with the social changes, integration of both local involvement and tradition maintenance should be developed at the same time. 3.Whether it is in the local traditional domain or the policy implementation from the governments, it shows a trend of incorporating the current resources. 4.Both the governments in India and Taiwan have begun to draft preservative measures to prevent the languages and culture from disappearing, and have taken root in it. 5.In the aspect of policy implementation, both India and Taiwan encourage and refund the academic research. The research of Vedic Chanting focuses on scientific development, while the research on Hakka emphasizes on culture infrastructure. 6.Both of these cultures are expected to be preserved in a variety of ways, including conserving the tradition and expanding the cultural application to the community.

碩士
國立臺北藝術大學
音樂學系研究所
92
This thesis is going to explore the succession of the three major tunes for the traditional Hakka folk songs in Hualien. With the ethnic material collected in the fieldwork and other related documents, the current situation of the heritance and inheritance of the three major tunes is examined. First, the discussion goes vertically from the diachronic dimension of Hakka folk songs, trying to define the meanings of these traditional folk songs, which have been sung and passed down for thousands of years, under different environments and times. Then the focus of the discussion is shifted to the synchronic dimension. By the fieldwork, the relationship and interaction between the three major tunes and the Hakka people in Hualien are inspected. And by the music analysis, we present the current condition of the three major tunes for the traditional Hakka folk songs here, and probe the local and unique cultural symbolic system which is built from the Hakka cultural characteristics, and is relied on and presented by the Hakka people when they face different peoples nearby.

碩士
臺北市立教育大學
音樂藝術研究所
95
The term, folk songs, are commonly believed by the scholars are from the Essay of Bamboo-stem in Tang Dynasty as the origin of folk songs. An example is being alone on a boat without a choice in the sunset, hearing the bamboo-stem in mountains by Lee Yi. Because of such an origin, the main form of the folk songs is seven characters in four sentences with characteristics of seven characters in a sentence and four sentences luo ban with clear distinction between level and oblique tones. Singers sing randomly with dialects and common sayings in plain local flavor. Hakka folk songs minors have their unique specialty in traditional performance art and social culture. Traditional Hakka people lived close to mountains after immigrating to Taiwan. They have been engaged in agriculture and lived by the mountains when cultivating the mountains or the lands. Folk songs are from countryside and mountains. They are the music created by early Hakka people in cultivation or during the free time. We can see their description of life and praise of love with happiness, anger, sadness and delight in the folk songs. Loud, sonorous and resonant voices are important in singing folk songs to express the primitive and unrestrained feelings. Singers also focus on the charm of acoustic cavity to match the quality of the language. Folk songs of Hakka people used to merely monotonous cheer or sigh. Later on, they entertained themselves with the songs in tealeaves picking, load carrying and cultivation. Sometimes they encouraged one another when they had physical labor in mountains in greeting melodies. To call their friends or attract the other genders, they sang love songs. Or they would talk to their friends in mountains loudly. The simple rhythmic melodies turned to be complete songs and then gradually the folk songs we have now. Vocal solo and antiphonal singing are the most common in folk songs. The former expresses the moods while the latter is originated from outdoor life. In the wide open fields in mountains, cultivation, transplanting rice seedlings, weeding, and rice cutting, when they saw people working in the fields, Hakka people greeted them in loud songs. They responded in songs, too. From asking names, they chatted or persuaded, scolded or flirted. They sang as having dialogues. There have been nine tones and eighteen accents. The tones refer to a certain vocal music system developed from a particular language with the purpose to perform in dramas. The musical tones origin can be divided into folk songs tones and tealeaves picking tones. Ballads spread everywhere were also used in drama music. Moreover, when singing, performers use a lot of function words as for tone and rhyme transfer in addition to the lyrics on the script. There is no particular norm on this and performers can exert their characteristics. In Hakka community, status of women had been affected by men and the traditional environment. Women have been regarded as subordinates to families and children. Thanks to the diversification of the society and higher education, women are freed from the traditional stereotype. However, besides taking care of the household chores, they need to adapt themselves to the role of career women. As a Hakka woman, I have always experienced the feelings, life, enthusiasm and hope of Hakka women through folk songs. This is very touching. Therefore, the researcher would like to have further analysis on representative Hakka songs, Sky of Falling Water, Dapu Tone, Full Moon Pai, Terrace Song, I Sing upon Your Request, etc to explore the image of traditional Hakka women in the Hakka folk songs. Keyword：The term folk songs、Hakka folk songs、nine tones and eighteen accents.

碩士
國立屏東師範學院
音樂教育學系碩士班
91
In these years, although the government and the public are aware of the importance of native culture education, Hakkah, one of the minor clans in Taiwan, is facing a swift loss in not only language, but also the performers of their traditional music. As The Ministry of Education have put the learning of folk art and language in courses designing by issuing「The Elementary School Curriculum Stander」( 1993 ), 「The Middle School Curriculum Stander」( 1996 ), and「The Nine-Year Curriculum Integration Program」( 1998 ), it has no time to delay for working out an effective teaching method to promote the Hakkah folk song. The purpose of the study is to investigate the ideas of the Hakkahese music teachers for teaching Hakkahese folk songs, to discover their differences in teaching strategies, materials, and methods during the class music courses and extracurricular music activities, and to investigate the difficulties when they teach Hakkahese folk songs. This research method utilized is case study. Both of the cases are Hakkahese music teacher, and working in elementary schools in Liu-Tui Hakkah area. One is responsible for music courses in classes, and the other is coaching in the extracurricular music activities. They specialize in either folk musicology or the performance of Hakkah folk songs. Therefore, the research is attempting to acquire these professional teachers’ teaching ideas and activity models by precise interviews on case study teachers and observations on their teaching activities. In addition, the analysis of Hakkah folk songs from music textbooks of all editions is provided to respond to two teachers teaching contents. Hope the findings from this study could be the future teaching reference for teachers who are looking forward to teach Hakkah folk songs. From the research findings, the study brings up the fallowing conclusions: 1. Related organizations need to research the Hakkahese writing suit to elementary school’s students, and finding an effective system to translate Hakkahese pronunciation as soon as possible. 2. To promote students’ interest and ability for learning Hakkah folk songs, teachers can transpose the melody to comfortable range of students’ voice, or substitute the teaching activities such as instruments’ playing or music appreciation. 3. Although skipping grace notes at groups teaching situation tend to make Hakkahese folk songs lose its original style and features, it is still the best way to popularize and impart Hakkahese folk songs. 4. Authority concerned must set up the Hakkahese folk song database and classified the songs by style, form, and difficulty in order to offer the material for publishers and teachers. 5. The government could hold the teaching certification for Hakkahese performing teams or individuals, and make them enable to assist Hakkahese folk songs teaching in the public schools. 6. Teachers have to cooperate to design activities of Hakkahese folk songs. 7. School authorities have to support teachers positively and associate with community organizations to promote Hakkahese folk songs. In consequence, the study makes some proposals for the authority’s studies in the future: 1. Discuss the necessity of applying phonetic transcription on Hakkahese folk songs. If the result is positive, work out a phonetic transcription suit to the elementary school’s students, and provide teaching methods reference for teachers. 2. Hold a research on Hakkahese characters. Make Hakkahese cannot only be spoken but also be written. Furthermore, make a connection between Chinese characters and Hakkahese characters. 3. Discuss what are the necessary conditions for training Hakkahese folk songs teachers. Make a research on materials and teaching method used in teacher training courses. Breed Hakkahese folk songs teachers met the demand.