南管音樂中的集曲

唐宋以來，從詞樂到南戲，「犯調」的應用相當廣泛，到了清代以「犯調」之名不雅，而改稱「集曲」，但《新編南詞定律》中仍稱「犯調」，而《九宮大成南北詞宮譜》、《南北詞簡譜》則稱「集曲」，於是「集曲」之名被廣泛運用，絃管文化圈並無「集曲」之語彙，此乃學界借用南曲曲體形式之名稱，絃管人反而常用「××犯」稱之，見諸南曲中的「集曲」（「犯調」）之各種相同名稱，例如：【二犯江兒水】、【巫山十二峰】、【十三腔】、【八寶妝】，也在南管手抄本中使用。這些「集曲」曲目，一向深受樂人的喜愛，因為一首曲子中，可以聽到許多門頭曲韻，樂人在聆賞之時，也必須努力透過聽覺辨識其中的各種曲韻；因此，除了欣賞演唱者的功力，也能肯定自己「識曲」的能力，故此類曲目最讓絃管人津津樂道。有關南管音樂在「集曲」的運用，究竟與詞樂或宋元南戲以來的南曲相似與否？本文藉由音樂文獻所陳述之「犯」、「集曲」概念，探討南管音樂集曲的運用。

關鍵字

腔句；大韻；犯調；犯聲；集聲；集句；集曲

並列摘要

Since the Empires of Tang and Song, the use of Fan-Tiao (犯調) was very popular in music for Tzu (詞) and Nanxi (南戲), and this phenomena was renamed 'Chi-Chu' (集曲) by Manchurian for a less negative title. Though it was still called Fan-Tiao in 'Xin Bian Nan Tzu Ding Lu' (新編南詞定律), other albums such as 'Jiu Gong Da Cheng Nan Bei Tzu Gong Pu' (九宮大成南北詞宮譜) and 'Nan Bei Tzu Jian Pu' (南北詞簡譜) did switch to the new name, which was therefore used widely in academics and borrowed for labeling Nanguan musical forms. However it did not happen among Nanguan circle or Nanguan manuscripts, which often use '....Fan' to name certain combination of tunes or tune-families, such as 'Er Fan Jiang Er Shui' (二犯江兒水), 'Wu Shan Shi Er Fong' (巫山十二峰), 'Shi San Qiang' (十三腔), 'Ba Bao Zhuang' (八寶妝). These combined tunes were always loved by musicians, for one could hear many tune-families in one piece, and it was considered an approval of one's music knowledge if s/he could recognized every single tune in this piece (in addition to enjoying the singer's performance).Is the use of Chi-Chu in Nanguan music similar to that of Tzu music or Nan-chu (南曲) of Nanxi since the Empires of Song and Yuan? With a survey on music documentary about Fan-Tiao and Chi-Chu, the author looked into the use of Chi-Chu in Nanguan music.