北曲般涉調【耍孩兒】與【煞】曲研究

北曲般涉調曲牌數量極少，除部分散套外，在雜劇中多數成為正宮或中呂之附庸，而【耍孩兒】與【煞】曲又為般涉調曲牌應用最多之曲，其間變化豐富，在雜劇套式結尾處，往往發揮精彩漸進的層疊效果。本文擬從【耍孩兒】與【煞】曲在散套與雜劇中的應用分析，進而從現存北曲曲譜窺探【耍孩兒】與【煞】曲的音樂結構與特色，希圖釐清北曲套式的文字形式與音樂關聯。

關鍵字

北曲；般涉調；耍孩兒；煞

並列摘要

Among the so-called ‘Northern Songs’ (beiqu), the banshediao is a type which has but a small number of possible prosodic patterns. Some are used in a context of non-operatic singing; those used in the performance of zaju operas are mostly associated with the zhenggong and zhonglü modes. The two most frequently used banshediao melodies are ‘Shuahaier’ and ‘Sha’; they show rich variation, and in the concluding sections of suites used in zaju, they are effective in giving an exquisite sense of multi-leveled culmination. The present study seeks first to analyze the use of ‘Shuahaier’ and ‘Sha’ in non-operatic suites and in zaju, going on to investigate the musical structure and characteristics of ‘Shuahaier’ and ‘Sha’ prosodic patterns as found in extant handbooks of beiqu prosody. It is hoped that this study can help to elucidate the relations between textual form and music in beiqu suites.