論曲牌體、板腔體之名義、體製與異同

「曲牌體」與「板腔體」是說唱和戲曲音樂不同的曲體形式，在說唱和戲曲的長期演進、發展過程中扮演著重要的地位。雖然二者體製內容和組織結構都不相同，但是在說唱與戲曲音樂的表現上，卻分別擁有其獨特的特質和豐富的表現力。使屬於綜合性內容的「說唱」與「戲曲」得以充分發揮並更具藝術價值，而能流播廣大、流傳久遠。戲曲和說唱音樂的唱腔與風格，深深影響戲曲和說唱的本質與特色，也影響我國音樂的內涵，因此深入分析探究板腔體與曲牌體，則成為研究戲曲、說唱和我國音樂的重要的課題。筆者打算研究的範圍包括板腔體與曲牌體的唱詞結構、音樂形式，以及各自的產生現象、體製內容、演變狀況、綜合運用和發展情形等。本文則首先論曲牌體與板腔體之名義、體製與異同。筆者探討「曲牌體」，先從重要辭書中，列述學者對曲牌體的詮釋。其次，從曲牌的詞格與音樂分析曲牌的體製。其三、對曲牌的性格、曲牌的名稱來源以及曲牌的運用與發展等方面，提出筆者對曲牌體的看法。至於「板腔體」，則對「板式」與「腔調」提出具體的看法。進而論及板式和行腔的特性。再探討板腔體常用板式的名稱、形成原由，以及板腔的運用等。最後探究曲牌體與板腔體的異同和在戲曲中的運用情形與發展特色。本文借由對「曲牌體」與「板腔體」的源由、體製、發展以及各自的特質之研究，希望能提供從事戲曲、說唱和我國音樂創作與研究者一些曲體的現象與資料，並期能對未來我國音樂的發展略盡棉薄。

關鍵字

曲牌體；板腔體；套曲

並列摘要

”Qu Pal Ti” and ”Ban Qiang Ti” are two different qu ti forms in the music for traditional Chinese story-telling and opera. The difference lies in the way they are sung by the performers. Both have evolved along with Chinese story-telling and opera and have played an important role in the long evolution process. Although both are different in their contents and structures, they both boast their own unique quality and rich variations when performed. This enables traditional Chinese story-telling and opera, which are in essence ensemble performances, to have more room for improvisation, which in turn gives higher artistic value to traditional Chinese story-telling and opera. The singing style in Chinese opera and story-telling is the backbone of Chinese music. Therefore the study of ”Ban Qiang Ti” and ”Qu Pai Ti” is an important topic for the exploration study and analysis of traditional Chinese opera, story-telling and music. This article aims to study the lyric structures of ”Ban Qiang Ti” and ”Qu Pai Ti”, their musical forms, and their variations in content, application and evolution. This article will first discuss ”Qu Fai Ti”, looking at different scholars' definitions of ”Qu Pai Ti”. Secondly, it will try to analyze the form of Qu Pai from its Ci Ge and music. Thirdly, the paper will put forward a point of view on the character, the naming, the application and the evolution of Qu Pai Ti. With regard to ”Pan Qiang Ti”, the article will discuss its ”Ban Shi (format)” and its ”tunes”, and then go on to discuss the features of its Ban Shi (format) and ”Xing Qiang”, the names of the frequently used Ban Shi in Ban Qiang Ti, their origins and application. Lastly, the article will discuss the differences between Qu Fai Ti and Ban Qiang Ti and their application and development in Chinese opera. This paper aims to provide researchers and creators of Chinese opera, story-telling and music more concrete information, data and analysis and thereby hopes to make some contribution to the future development of Chinese music.