ABSTRACT
This chapter examines how past social constructions of gender continue to fundamentally affect the performance conventions of pak-koán theater music. Pak-koán (Mandarin: beiguan) is one of the dominant traditional music genres in Taiwan. It was originally imported from Fujian Province by immigrants during the eighteenth century. Historically, pak-koán has been closely related to the social life of the Han people in Taiwan. With a great scope, pak-koán consists of four categories: percussion and wind ensembles, silk and bamboo ensembles, theater music, and refined songs. Among them, the theater music is notable for its unique vocal projection and singing style.
Pak-koán music has been transmitted by music clubs which were exclusively male in the old days. The clubs not only transmitted music, but also served as venues for male socializing. Pak-koán theater music is often performed in non-theatrical style, without costumes, make-up, or acting by amateur music clubs. When performing a play, how might an exclusively male group distinguish the voices of various roles, particularly in the absence of visual aids? This chapter discusses the rendering mechanism of pak-koán theater music and addresses how its performance has been stimulated and influenced by gender notions in the past and today.
