現在位置 首頁>檢索服務>詳目式

全文限國圖網域開放

博碩士論文: 臺灣客語廣播節目播放客家勸善歌之研究=A Study on Hakka Ballads in Hakka Radio Programs

  • 作者:謝瑞珍(Hsien Jul Chen)(研究生)
  • 其他作者:盧嵐蘭(Lan-Lan Lu)(指導教授)
  • 語文:中文
  • 出版者:國立聯合大學
  • 系所名稱:客家語言與傳播研究所
  • 學位類別:碩士
  • 出版日期:2010
  • 畢業學年度:99
  • 頁數:246
    • 主題:傳統表演藝術-其他
    • 關鍵詞:勸善歌、客家歌謠、廣播節目、主持人、Charitable song、The Hakka Ballads、Radio programs、Hosts
    • 國家:臺灣

    摘要:

     客家勸善歌謠表現出客家先民在思想情感上的生活藝術,簡單明瞭的陳述包藏著先祖的智慧與態度,一把胡琴的神來之唱就能寓教於歌,讓天籟美音繞樑不絕,過去常有人對客家歌謠有偏誤想法,以為客家歌謠原係風流曲;如能透過媒介傳播提供更多的展現機會,讓更多人藉由對勸善歌的社會關懷特質有所認識,則可重新定位客家傳統歌謠的意義。
    本研究旨在探討客語廣播節目主持人對客家傳統勸善歌的播放情形,研究對象是北部地區的客語廣播節目主持人,分別瞭解其播放勸善歌曲的範圍及播放趨勢、主持人如何選擇及評價各種播放模式、觀察勸善歌的解讀經驗與歌曲播放行為的關係、他∕她們如何評估聽眾對勸善歌的反應,以及勸善歌的播放情境、節目企製組織和節目性質的關連性等。
      本研究以深度訪談及焦點團體討論分析20位客語廣播節目主持人,研究結果發現,傳統勸善歌的播放以六十分鐘的帶狀節目每週至少六至十二次為最多,塊狀節目以每週二次為多,其中帶狀節目比較能夠與聽友有較多的互動,尤其是開放call in的現場節目,對勸善歌之露出機會有更多的助益。節目中歌曲播放部份,商業性節目的歌曲播放較為多元,不同語言的歌曲都會播放;而客委會委製的節目則是以客語歌曲播放為主,極有利於客家勸善歌的傳播。但在歌曲材料方面,電台應加強傳統勸善歌的蒐集,將各種不同音源媒材及演唱版本轉檔並建檔以充實音庫。傳統勸善歌的播放傾向,以〈娘親度子〉的播放度最高,其次依序為〈蘇萬松調〉及三大調類的勸善歌。CD碟片播放模式是多數主持人會採用的方式,主持人也會將勸善的歌詞意境套用在個人或社會情境上與聽友分享;在播放情境上,主持人多會採取以時事話題導引出歌曲的播放,並認為此一作法較能引發共鳴。
    本研究認為客語廣播節目主持人宜加強資源共享的互惠觀念,將有聲資源相互交流,讓歌曲音檔更具變化性,使節目製播資源更為充實;政府單位可加強委託製播優質單元的方式,來增加傳統客家歌謠的曝光率;此外也要鼓勵更多詞曲創作者為客家傳統歌曲之傳佈追求更多的可能性與發展性。
    Hakka Charitable Ballads shows Hakka ancestors’ living art of thought and emotion. The short clear statement includes the ancestor’s wisdom and attitude as you sings and you could get some meaning from the songs. People used to have error idea of Hakka Ballads to be the romantic songs. If we can provide more chance to spread out Hakka Ballads by media and make more people know that Hakka Charitable Ballads’ characteristics is to concerning social care, it may reposition the meaning of the Hakka Ballads.
     The purpose of this study was to investigate the practices and experiences of Hakka radio programs hosts in northern Taiwan; to survey the range and frequency of playing Hakka Charitable Ballads; the selection and evaluation from varied play modes; to understand their reason of play each songs. In addition, to discuss how they interpret the reaction from audience, the situation of the Hakka Charitable Ballads’ playing and the relation between the program production and program format.
    The study had conducted focus-group and in-depth interviews with 20 hosts of Hakka radio programs. The results showed programs broadcast only an hour per week played the Hakka Charitable Ballads 2 times at the most. But an hour daily programs which had more communication between hosts and audience, especially call in programs, played at least 6 to 12 times per week. It is beneficial for the Hakka Charitable Ballads has more opportunities to show up. The songs played in commercial programs were multiple, also played different languages. However, programs produced by the Council of Hakka Affairs were mainly played the Hakka songs which were highly conducive for spread the Hakka Charitable Ballads. But according to the songs resource, the broadcaster should be step up the collection of Ballads from different sources or media. In the all the Hakka Charitable Ballads, ‘niang qin du zi’ had the highest frequency and the second high was ‘su wan song diao’ and then others Ballads. The most hosts likely to use CD player, and likely to share social or personal impressions applied to the lyrics. Also, the most hosts used to lead songs by currently news and they all thought it could get the more response from audience.
     The study believes the Hakka radio hosts should be strengthen an idea of sharing resources, make more substantial resources for the program production. The government could enhance on the quality programs to increase the popularity of the Hakka traditional songs. Besides, we have to encourage more songwriters write songs for pursuit of the development and possibility of the Hakka traditional songs.

    目錄:

    第一章 緒論………………………………………………..……………………..1
    第一節 研究動機及背景……………………..………..…………...….1
    第二節 研究目的………………………………………..……………..3
    第三節 研究範圍………………………………………..……………..6
    第二章 文獻探討…………………………………………………..……………..8
    第一節 廣播主持人與守門人理論…………………....………..……..8
    第二節 廣播主持人的歌曲解讀及播放………..………………...….13
    第三節 客家勸善歌的發展與流通………..……………………...….26
    第四節 客語廣播節目與客家勸善歌之運用…………..…………....39
    第五節 研究問題……………………………………..………………41
    第三章 研究方法…………………………………..…….….…………………..44
    第一節 深度訪談…………………………………..…..……………..44
    第二節 焦點團體…………………………………..……………..…..48
    第四章 客語廣播節目的客家勸善歌播放…..……………………..……....…..52
    第一節 廣播主持人對客家勸善歌之運用…..…………………..…..52
    第二節 客家勸善歌播放的多重考量…..…………..………………..69
    第三節 廣播節目的客家勸善歌播放趨勢…..…………………..…..75
    第四節 廣播節目的客家勸善歌播放模式…..…………………..…..79
    第五節 廣播節目規劃與客家勸善歌播放…..…………………..…..85
    第五章 節目主持人的客家勸善歌解讀與播放情境…..…………………..…..91
    第一節 客家勸善歌播放前的想像…..…………………………..…..91
    第二節 選播客家勸善歌的預期效果…..………………………..…..95
    第三節 客家勸善歌之解讀與播放…..…………..…………………..97
    第四節 客家勸善歌播放與節目企製………………..……………..116
    第六章 結論與建議…..…………..….. ………………..….. …..…………..…..122
    第一節 研究發現及結論…..…….……..….. …..……………...…….122
    第二節 檢討與建議…..…………..….. .…..……………….…..…….128

    參考書目…..…………..….. ..…………..….. .…..…………..……………….......131
    附錄 深度訪談及焦點團體逐字稿全文

    表目錄
    表3-1 客語廣播節目主持人訪談名單及深度訪談執行時間.……………….. 45
    表3-2 深度訪談大綱.…..…………..…………………………………………...47
    表3-3 焦點團體執行時間.…..…………..…………………….………………..49
    表3-4 焦點團體討論題綱.…..…………..………………….…………………..49
    表4-1 主持人的客家勸善歌播放頻率…..……………………………………..53
    表4-2 主持人最常播放的客家勸善歌………………..………………………..55