Abstract

Based on author's master graduation concert of Nanguan (南管) as the main axis, this

research analyzes the repertoire in the concert from the perspective of a performer and also

a learner. Focusing on the core of this interpretation and recording, the key results in the

study of the repertoire and the key issues of the personal performance process are discussed

in details.

The report consists of six chapters. In the beginning, the first chapter is devoted to

introduce the background, motivation, and structure of the research. Since the traditional

Nanguan music is a kind of group-music, the performances could not be done merely by

author. The second chapter describes the supports and contents of the concert, including the

introduction of Master Lin Wu, Su-Hsia (林吳素霞), the arrangement of the repertoire, the

staffing of the co-performers, and the brief development history of Hehe-Yiyuan (合和藝

苑).

The concert is performed in the order of traditional Nanguan music, i.e., Zui3 (指), Kiak7

(曲) and Poo3 (譜). Following the traditional order as the arrangement of the contents, the

next three chapters are the spotlight of this research. The third chapter discusses a piece of

Zui3 , titled as Giã2 Gao3 Liong2 Dan2〈行到凉亭〉. In the forth chapter, the three pieces of

Kiak7, including Im1 Siu4 Gun1 Kɯ5〈暗想君去〉, Giao1 Iong3 Cim1 Gui1〈嬌養深閨〉,

and Biak8 Hun2 Piao1 Bbiao3〈白雲飄渺〉, are distinctively explained. Chapter five

demonstrates Poo3, Gui1 Zao2《歸巢》. For detailed explanation and description of contents

of vocal repertory and structures of rhetoric performed at the concert repertoire, discussion

of written script and introduction of vocal repertory are first given in each chapter. Then,

texts in existing tune, intonation, and rhyme are analyzed in company with author’s own

interpretation and learning experience. Finally, some personal views and suggestions on the

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preserving, inheritance and learning of the Nanguan are given as the conclusion of this

research.