臺灣博碩士論文加值系統

　　根據美國媒體《Quartz at Work》統計發現，近年來世界頂尖樂團的男性仍高達69%，此現象反映了19世紀前就存在的性別偏見。西方古典音樂界一直以來皆為男性宰制，循著樂器發展的脈絡不難推測樂器設計大多只考量生理男性使用者，學習樂器的生理女性被迫適應對她們來說相對不友善的樂器，同時也承受著更高的演奏傷害風險。本研究聚焦於19世紀才逐漸興起的大樂器–中提琴，需要比小提琴更將上肢伸離中軸，提升了演奏者演奏傷害的機率，且中提琴至今尺寸仍未標準化，在樂器尺寸上比起有明確分數分級的大、小提琴，亦有較多調整的彈性。
　　本研究將樂器設計對象設定為平均身高相對不及西方人種的東方人；身形相較男性嬌小的女性。以自1977年即投入樂器製作及樂器創新的製琴師：飯塚宏（いいづか ひろし）的古中提琴（viola d’amore）風格之中提琴模型為基礎，再參考臺灣勞動部勞動及職業安全衛生研究所國人人體計測資料庫之女性身體數據，本研究以性別問題作為樂器尺寸調整之依據，並盡可能地於舒適度與樂器共鳴之間取得平衡。

Historically, organology reflects gender bias in musical instrument design. Related to this, the American media Quartz at Work tested the world's top 20 orchestras in the British Gramophone magazine and found the rate of men in the world's top orchestras is as high as 69%. This phenomenon reflects that gender bias has existed before the 19th century evidencing the fact that the instrument manufacturing industry serving this Western European classical musicians has been dominated by men and affects its practice in countries throughout the world. Women who learn on these musical instruments are forced to adapt their bodies to instruments that are oversized and awkward for them facing a higher risk of performance injury. For example, focusing on the "big musical instrument" - viola which emerged in the 19th century, petite female players need to extend their upper limbs away from the central axis more than the violin, which increases the player’s risk of injury. Moreover, viola has not yet been standardized. So, in making and design it's more flexible on adjusting the size.
The objects whom the musical instruments are designed for in this research are petite Asian women whose average height and body type is relatively smaller Western European women. Adjusting the size of musical instruments based on the viola model of the viola d'amore style of the luthier Hiroshi Iizuka, who has worked predominantly in the building of new instruments since 1977.Referring to female body data from the Taiwan National Human Body Measurement Database of the Institute of Labor and Occupational Safety and Health of the Ministry of Labor, I argue that organological design informed by issues of gender awareness and equality make it possible to strike a balance between comfort and resonance.

中文摘要 I
Abstract II
目錄 IV
圖目錄 VI
表目錄 XI
工作紀錄表目錄 XII

第壹章 緒論 1
第一節 研究動機與目的 1
一、樂器與女性 3
二、提琴的演奏傷害 5
三、人種、性別與體格差異 8

第貳章 設計理念 11
第一節 樂器設計原理 11
第二節 中提琴發展史 13
一、Lionel Tertis （1876 - 1975） 18
二、Otto Erdesz （1917 - 2000） 20
三、Hiroshi Iizuka （1945 - ） 21
四、David Rivinus （1949 - ） 24
五、Joseph Curtin （1953 - ） 25
第三節 模型與數據制定 26
一、輪廓調整 28
二、琴頭 32
三、F孔 35
四、腮托 38

第參章 樂器施作 40
第一節 前置作業 40
第二節 提琴製作 42

第肆章 實證與測試回饋 80

參考文獻 83
附錄 受試者基本資料與訪問內容 91

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河内まき子、持丸正明
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