台湾客家山歌の旋律の同一性

The primary aim of this article is to clarify the ways in which the framework of melodic construction and the linguistic tones of a text interact in the process by which a melody maintains its melodic identity, and takes as its object a genre of folk-song of the Hakka _??__??_(Ch. Kèjia) of Taiwan, the mountain song (Ch. shange _??__??_). Secondly, an examination has been made of the present distribution of the mountain song, which originally spread from the regions inhabited by the Hakka in the northern part of the island, and treatment has also been made of the special characteristics of the musical activity of the Hakka of Taiwan, which centres on folk-song. This can be viewed as an attempt firstly to analyse the musical phenomena of a particular music-cultural sphere as a sound idiom that includes a model for the making of music, and further to grasp anew the meaning that these sound phenomena hold within the overall context that gives birth to the music.<br>Within the mountain song, texts variable in nature are set according to fixed principles of melodic construction. Of three types into which the mountain songs of the Hakka are divided, the type called sankotsú _??__??__??_ (Ch. shangezi) has been dealt with here. After a brief examination of the elements that constitute the framework of melodic construction—the form that performance takes, musical form, verse structure of the texts, and the methods of text-setting, etc. —analysis has been made of the correspondence between melody and linguistic tone pattern, in the cases of two-word phrases and single-word phrases, and in terms of the treatment of the entering tone (_??__??_ Ch. rùsheng) that exists in Hakka languages as it does in many other southern variants of Chinese.<br>As a result of this analysis, it has been shown that the melodies of sankotsú folk-songs basically correspond with the linguistic tones of their texts. This does not mean, however, that the movement of the melody agrees completely with the rising and falling intonation of the linguistic tones. At certain points where movement of the melody is limited by the maintenance of its identity as a single song, the influence of linguistic tone is hardly felt. In the case of two-word phrases, there are numerous examples when the second word does not retain the rising and falling movement of the appropriate linguistic tone. Speaking generally, it is rare for the melody to be able to represent all characteristics of any single linguistic tone; it is by expressing part of those characteristics, sometimes by means of rhythm and sometimes by means of pitch change, that contrast with other linguistic tones is effected.<br>Consequent upon the results of this analysis is the supposition that the melodies of sankotsú folk-songs are sung according to the linguistic tones of the. Sìxiàn _??__??_ dialect of Hakka. Even those who speak in Hailù _??__??_ dialect appear to conform to the linguistic principles of Sìxiàn dialect as their “sung language”. Since folk-songs of the mountain song variety intrinsically possess many elements that are prescribed by the language of their particular region of origin, it is often said that it is difficult for them to overcome the barrier of language and spread further in geographical terms. If so, the mountain song of the Hakka of Taiwan, which is distributed among people who speak in different dialects of Hakka, would seem to have changed somewhat in character from the original mountain song.<br>Next, consideration has been made of the historical process responsible for this distinctive geographical distribution, and of the central role that folk-song, mainly that of the mountain-song type, plays in the traditional musical activity of the people. The Hakka people of Taiwan are immigrants from a number of places on the continent. We may speculate that