Voices of P a,,ria,-Sprmg: A study of the Hingcun diau Song Family and Other Folk Songs of the Hingcun Area, Taiwan Submitted for PhD By ‘ Chien Shang-Jen Department of Music University of Sheffield January 2009 Abstract This thesis focuses first on Taiwanese folk songs in general, looking then in more detail at Hingcun [Hengchun in Mandarin] folk songs and finally zooming in to study in depth the tune Hingcun diau and its song family. In addition to the discussion of the musical qualities of folk songs per se, this thesis lays stress on how these folk songs . were shaped by and interacted with the lives of the people in the societies where they were found. Chapter One looks at the concept of folk song and then considers folk song in Taiwan from historical, musical and ethnomusicological perspectives, introducing three systems of folk song: aboriginal, Holo and Hakka folk songs. Of the three, Holo folk songs are the most significant part due to the fact that Holo people constitute the majority of the Taiwanese population. The folk songs of the Hingcun Peninsula, which is located at the southernmost tip of Taiwan, are part of the Holo category, and these are the topic of Chapters Two and Three. Chapter Two provides an account of the history and society of the Hingcun region, so describing the setting of the songs studied here. In Chapter Three I report on my fieldwork investigations into this repertory, revealing more of the folk song culture that surrounds the songs themselves, in particular the songs Susianggi and Ghubhe buann, and the outstanding vocalist Chen Da. Chapter Four looks in depth at the remarkable song family that has emerged from the Hingcun diau tune over time, analysing variants from the earliest instances available to symphonic arrangements and the latest hip hop version. The relationship between political and cultural change and the emergence of new variants is assessed throughout. The thesis is then completed by a Conclusion (Chapter 5) and two CDs of examples. Keywords: Ethnomusicology; Musicology; Asian music study; Folk song; Taiwanese folk songs; Hingcun diau ; Development of folk song Acknowledgements Firstly, I am great indebted to my supervisor, Prof. Jonathan Stock, for his help in my completion of this thesis. Prof. Stock has inspired and guided me with his profound knowledge of world music and concepts of ethnomusicology, as well as in terms of research theories and methods. In particular, he has examined, corrected and directed with patience and care each section of the thesis. His devotion is held in high esteem and gratitude by me. I would also like to express my sincere appreciation to Dr George Nicholson and Dr Andrew Killick for providing many valuable opinions in my upgrade examination. Their influence had a formative impact on the process of my research as well as on all my subsequent writing. My thanks are due to Prof. Michael Pickering and Dr Katie Van Buren, who examined this research and suggested many crucial improvements. In addition, I would like to extend my genuine appreciation to Dr Chou Chiener, who remains a teacher and friend to me. She replied to my inquiries and discussed with me patiently at all times; she has offered me great help in the writing methods of a thesis. I am also indebted to all the people who helped me and who gave interviews, songs, food, fellowship, ideas and other engagement to me in the process of my fieldwork. Some of them have passed away already. Regrettably, because the number of people is quite large, I am unable to list them one by one here. Nevertheless, I believe that they are aware that I am expressing my appreciation to them. I must, however, especially thank Chen Da, Zhu Dingshun and Professor Zhong Mingkun for continuously giving research time to me over a very extended period. In particular, Professor Zhong Mingkun has provided me with much valuable information and frequently helped me photograph and record, even arranging my transportation, room and board on certain occasions. Without their enthusiastic cooperation and assistance, this thesis could never have been completed. ii CONTENTS Abstract i Acknowledgements ii Contents iii List of Figures viii Musical Excerpt on the CD xi Chapter One: introduction Prelude 1 1.1 Research Motive and Objective 2 1.2 Research Subject and Scope 3 1.2- 1 Folk song (music) in the West and Taiwanese folk song 5 (1) Folk song (music) in the West 5 (2) With regard to Taiwanese folk song 11 1.2- 2 Taiwan aborigines 16 1.2- 3 Folk songs of Mountain aborigines 19 1.2- 4 Folk songs of Pennbo aborigines 21 1.2- 5 Han migration to Taiwan 24 1.2- 6 Hakka folk songs 27 (1) Hakka folk songs with different tunes 28 (2) Hakka folk songs with different lyrics 31 (3) Hakka folk songs with different singing forms 32 1.2- 7 Holo folk songs 33 (1) Holo folk songs based on lyric structure 33 (2) Holo folk songs based on lyric content 37 (3) Holo folk songs based on geographical region 44 (4) Holo folk songs based on functions 53 1.2- 8 The position of the Hingcun diau song family and other folk songs of the Hingcun area 54 1.3 Research on Hingcun diau in the Past - Retrospection and Exploration 55 1.3- 1 Ethnomusicology research in Taiwan 63 1.3:2 Research on Holo folk songs, including the folk songs in the Hingcun area 63 1.3- 3 Research on Hingcun diau and its song family 66 1.4 Research Procedure, Methods and Direction 70 1.4- 1 Research procedure and methods 70 (1) Handling surveys to collect primary research data . 70 iii (2) Utilizing audio-visual data 71 (3) Consulting the research results of other scholars 71 1.4-2 Research direction 72 (1) Verification of point in time (history) 72 (2) Examination of the scope of space (region and use) 72 (3) Analysis and comparison of musical structure and lyric contents 73 (4) Principles of the selection of songs 73 (5) A note about the musical transcriptions and lyrics 74 (6) Complementarity and integration of various disciplines 75 1.5 Regarding the Phonetic Transcription - Notes on Romanization and Translation 75 Chapter Two: The Geography, History and Culture of the Hingcun Area and Its Influence on Hingcun Folksongs Introduction 80 2.1 The Geographical Environment of the Hingcun Area 81 2.1- 1 Area, geography, climate and industrial condition 81 2.1- 2 Transportation and natural resources 85 2.1- 3 Major facilities and constructions 88 2.1- 4 Summary 89 2.2 A Brief History of the Development of the Hingcun area 90 2.2- 1 The period before Zheng Family rule (before 1662) 90 2.2- 2 The rule of Zheng’s Family (1662-83) 92 2.2- 3 The rule of the Qing Dynasty (1684-1895) 94 (1) Before 1875 94 (2) After 1875 95 2.2- 4 Japanese rule 99 2.2- 5 After 1945 101 2.2- 6 Summary 102 2.3 Ethnic Groups in the Hingcun Area 103 2.3- 1 Composition and movement of ethnic groups 103 (1) Mountain aborigines 104 (2) Han people ' 105 (3) Pennbo aborigines 105 2.3- 2 Relations between ethnic groups 106 (1) Conflict and integration between Holo and Hakka people 108 IV (2) Conflict and integration between the aborigines and Han people 110 2.3-3 Summary 114 Conclusion 115 Chapter Three: Hingcun Folk Songs and Fieldwork Experience Introduction 117 3.1 Folk Songs in the Hingcun Area 126 3.1- 1 Susianggi [Thinking of] 132 (1) Origin o f Susianggi 132 (2) Tune name, pronunciation and written form of Susianggi 139 (3) Lyric structure and content 140 (4) Musical qualities 152 (5) Correspondencd between Susianggi and theories of Merriam and Rice 155 3.1- 2 Ghubhe buann [Ox whisking its tail] 156 (1) Origin 156 t (2) From Ciunn kik to Ghubhe buann 156 (3) Exploration of song titles 158 (4) Ghubhe buann in the ceremony of marrying daughters 159 (5) Structure of the lyrics and musical characteristics ‘ 170 (6) Blending of the cultures of different ethnic groups 171 (7) Ghubhe buann constantly moving forward in the model of concept, behaviour and sound ' 173 3.1- 3 Suguicun [All seasons are spring] and Honggang sior diau [Short song of Honggang] 174 (1) Names and origin' 174 (2) Analysis and comparison of the music structure of Suguicun and Honggang sior diau . \16 (3) Lyrics contents and structure: they sang in their daily lives 183 3.1- 4 Ziughu diau [The tune of guarding cattle] 189 3.1- 5 Hincun diau [Tune of Hingcun] 193 3.2 Chen Da and His Songs 193 3.2- T The first meeting 195 3.2- 2 Chen Da’s learning and my learning with him 196 3.2- 3 Chen Da’s life as a minstrel 198 3.2- 4 Chen Da’s impromptu singing and creativity 200 v 3.2- 5 Singing from Hingcun to everywhere in Taiwan 206 3.2- 6 The last glory and torment of life 209 3.2- 7 Meaning and values of Chen Da’s songs 211 (1) The aspect of singing 211 (2) The aspect of literature 212 3.2- 8 Impact and influence of Chen Da 221 3.3 Hingcun Folk Song Activities - The Past and the Present 224 3.3- 1 Hingcun folk songs in the past 225 3.3- 2 Hingcun folk song activities at present 226 Conclusion 235 Chapter Four: The Developmental Process and Historical Background of Hingcun Diau and Its Song Family Introduction 238 4.1 From Yuanzhunmin Diau [An aboriginal tune] to Hingcun Diau 240 4.2 Evolutionary Changes in Hingcun Diau 253 4.3 The Relationship between Folk Song Melody and Linguistic Tones 258 4.4 Spreading out from the Hingcun area: from Hingcun Diau to Gengnongge (M) and Ginglonggua (H) 261 4.5 The Melancholy Adagio Sann siann bhornai [Helpless groans] 272 4.6 Returning to the Past and Heading Towards the Future: Hingcun Diau in a Fixed Form , 281 4.7 Entering a New Age: Cenn or’a sor [The oyster fisherman’s wife] 285 4.8 The Application of Western Music