宋代樂曲與南戲北劇承傳之探討

古代無留存音樂的科技，屬於時間藝術的講唱音樂難以聲音傳世，但在戲曲的詞曲體文學中，吸收講唱文學牌調，得以文字考察其轉變。時至今日，雖然諸宮調的聲音難以追尋，但因其來自宋詞音樂與文學，又在說唱階段變化形式而轉入戲曲，詞曲文學便以文字流傳的方式，為其留下樂曲消逝與變化的蹤跡。本文從諸宮調之宮調轉換和纏令的運用方式分析，探討諸宮調與宋代鼓子詞的關係，以及諸宮調之轉調特色融入南曲戲文、北雜劇套數的各種跡象，瞭解諸宮調之宮調、牌調、纏令在詞與戲曲發展史中蛻變與消逝的情形，分析樂曲透過文字留存的轉變線索。

關鍵字

說唱；轉調；宋金元；詞曲文學；戲曲音樂

並列摘要

In ancient times, there was no technology to record music; therefore, the saying and singing music that belong to the art of time were difficult to spread. But in the Ci Qu ti literature of Chinese opera, which assimilates the pai diao of saying and singing literature, one can study the transformation of the writing system. Although the sound of the Zhu gong diao - which comes from music and literature of Song Ci and present in Chinese opera - is very hard to find today, the Ci Qu literature reveals the fading and transformation of the music. In this article - from the transformation of the gong diao of Zhu gong diao and the analysis of chan ling's application - we will discuss the relationship of the Zhu gong diao and the gu zi ci of Song dynasty, along with the feature of Zhu gong diao's modulation, which combines the trace of Nanxi and Bei za ju tao shu. In conclusion, this article will help scholars and students better understand the gong diao of the Zhu gong diao, the pai diao, chan ling, and the transformation and fading of Chinese opera and the Ci, along with analyzing the music that reveals the transformation of the writing system.