北港南管館閣之研究─以笨港集斌社為例

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Title:	北港南管館閣之研究─以笨港集斌社為例
Other Titles:	A Study of Beigang Nanguan Traditional Music Hall--Examples of Use "Poonkan Jin-Bin-She"
Authors:	李香蘭 LEE, HSIANG-LAN
Contributors:	建築與景觀學系環境藝術碩士班魏光莒 WEI, KUAN-CHU
Keywords:	南管;笨港集斌社;儒家 Nanguan;Poonkan Ji-Bin-She;Confucianism
Date:	2017
Issue Date:	2017-12-07 14:41:35 (UTC+8)
Abstract:	北港在明朝天?元年（1621）顏思齊入墾而開啟閩南先民的移入墾殖，有「泉州南音」之稱的南管音樂自然隨之傳入；加上其早期商港的功能，經濟繁榮，人文薈萃，助長了南管音樂的發展與盛行。　　北港曾是臺灣戲曲、音?的發展重鎮，早期南管館閣林立，盛極一時。其中，集斌社創立於乾隆十一年（1746），是笨港最古老的南管館閣，有兩百多年的歷史。但是民國60年代後，由於傳統文化式微、社會環境的轉變，北港南管逐漸沒落，各個館閣後繼無人，再加上大火無情，許多重要樂器、曲譜、文物遭焚毀，集斌社形同廢社，其他館社也相繼散亡，雖然最近這幾年在地方愛好南管音樂人士積極推廣下，重燃傳習南管的火苗，但新的南管館社在傳承與持續發展方面仍面臨到諸多困境。以致近來學者們對於臺灣南管發展的相關研究中皆甚少提及北港，或僅把北港南管館閣歸為神明會或藝陣之一，實為一憾事。因此，北港南管館閣的組織性質和其由盛→衰→復立的演變，仍值得探究與討論。　　本論文旨在研究北港南管館閣的組織性質與發展之演變，以文獻分析法與深度訪談法做質性之研究。主文分三部分：首先，了解北港南管館閣的發展沿革，並分析其興衰與復立之因素。其次，以儒家的觀點，進行北港南管館閣組織性質之探究。再來，以笨港集斌社做個案之探討，透過比較今、昔館閣文化的差異，來探討北港南管館閣的質變。　　本研究探討後發現：一、北港早期亦是台灣南管音樂的發源地之一；二、北港的南管館閣並不是神明會組織，而是傳承儒家禮樂教化的「游於藝」之音樂組織；三、新舊集斌社之館閣文化已產生了質變。　　最後就笨港集斌社目前的發展現況，提出幾點建議，希望能提供北港南管館閣後續發展之參考。　　Beigang in the first year of the Ming Dynasty (1621) Yansi Qi reclamation and open the ancestral Taiwanese immigrants into the reclamation. "Southern music" is known as "Quanzhou South Music". Plus its early commercial port function. Economic prosperity,Humanities, Contributing to the development and popular music of the Nanguan. 　　Beigang was the development of Taiwan's opera and music. Early Nanguan Pavilion was very popular among them. Ji-Bin-She was founded in eleven years of Qianlong (1746), the oldest Nanguuan Pavilion of Poonkan. There are two hundred years of history. However, after the 1960s, due to the decline of traditional culture, social environment changes, Nanguan of Beigang gradually decline, no successor to each cabinet. Coupled with the fire ruthless, many important musical instruments, music, artifacts were burned. Ji-Bin-She community like waste societies, other museums have also scattered casualties. Although the recent years in the local hobby Nanguan musicians actively promote, re-ignite the flames of the Nanguan, but the new Nanguansuan in heritage and sustainable development is still facing many difficulties. So that the recent scholars for the development of Taiwan's Nanguan are rarely mentioned in the relevant study of Beigang, or only the Beigang Nanguan Pavilion as the gods organization or one of the array, is a pity. Therefore, it is worth exploring and discussing the nature of the organization and its evolution from Prosperity → Fading → Rehabilitation.　　The purpose of this paper is to study the evolution of the nature and development of the Beigang Nanguan Pavilion, and to make a qualitative study on the method of document analysis and in-depth interview. The main text is divided into three parts: First of all, to understand the development of Beigang Nanguan Pavilion, and analyze the factors of its rise and fall. Secondly, from the point of view of Confucianism, the paper explores the nature of the organization of Beigang Nanguan Pavilion. In addition, this paper explores the qualitative change of the Poonkang Ji-Bin-She by comparing the cultural differences between the present and the other.　　In this study, we found that: 1, the early Beigang is also the birthplace of Taiwan's Nanguan music. Second, the Beigang Nanguan Pavilion is not a gods organization, but the Confucian ritual education of the "You Yu" Music organization. Third, the old and new Ji-Bin-She Club Pavilion culture has produced different changes.　　At last, the author puts forward some suggestions on the current development of Poonkan Ji-Bin-She, hoping to provide reference for the follow-up development of the Beigang Nanguan Pavilion.
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