北管鑼鼓的「介頭」與手勢運用

The Research of Kài-Thâu (介頭) and the Leader's (thâu-tshiú頭手) Hand Gestures in Pak-Kuán Music

北管鑼鼓是以「頭手」掌握的各種「鼓介」組合變化為核心，用以搭配曲牌演奏或戲曲演出時的武場伴奏。頭手為北管後場的總指揮領奏者，需因應整體演出情緒與現場情形，在力度或速度上做適切的掌控來營造氛圍，因此必須熟知各種鑼鼓的組成與演奏特色，並在起始、轉接與終結之處，以不同的擊奏方法與各種手勢作提示或暗示。鼓介為北管鑼鼓的總稱，而在各種不同的鼓介開頭部分，民間藝人則稱為「介頭」，又名鼓嘴或鼓啐等，所指便是以不同的擊奏聲響作為鼓介的提示訊息。介頭雖為鼓介的起始，但實際上並非後場的全部合奏，而是由頭手一人獨奏，其目的在於制定之後的演奏速度。 介頭之外，另一個催化鑼鼓運作的關鍵部分，則是頭手所運用各種不同的手勢變化，作為輔助鼓介轉接或終結時向後場發出的交代指令。傳統上，鼓介以狀聲字為主要文字紀錄尚能了解其唸法，但演奏手法與其手勢動作難以描述，也因個人技藝不同而有差異。從頭手所掌握的介頭與手勢來看，這兩部分的相互搭配更為後場與前場整合的關鍵因素。因此，本文就此運作系統整理及深入研究，期望對北管鑼鼓學習者有實用價值，亦有利於理論研究者更全面地了解北管音樂的鑼鼓面向。另外，本文亦從頭手掌握的鼓介核心，兼論藝人間對於評定頭手審美的標準。

 

The core of pak-kuán (北管) music is kóo-kài (鼓介), the combination of Chinese gong and drums, conducted by the Leader (thâu-tshiú頭手). The Leader is the chief conductor in pak-kuán music. Besides knowing well the features of various combinations of gong and drums, the Leader also gives signals through different beats and hand gestures to indicate when the music begins, goes into variations, and ends. The beat and tempo of the Leader’s hand gestures correspond to the mood of the performance, with different gestures and beats being used to signal the following kóo-kài (鼓介), which is called kài-thâu (介頭) by pak-kuán musicians. Although kài-thâu (介頭) is part of kóo-kài (鼓介), it is not played together with the other instruments, but rather it is played as a solo by the Leader to regulate the tempos of the other instruments. Other than kài-thâu (介頭), the changing of Leader’s hand gestures is the key for the activation of the gong and drums. In other words, the acoustic kài-thâu (介頭) and non-acoustic hand gestures are both main features of conducting the musicians and the actors. The aim of this thesis is to exhibit how the Leader in a pak-kuán ensemble forms and conveys the messages (hand gestures) in pak-kuán music. Moreover, this paper also discusses pak-kuán musicians’ standards for how a Leader conveys his/her kài-thâu (介頭) and hand gestures in an artistic way.