南管曲目分類系統及其作用

本文從分類的重要性出發，探討南管分類系統在南管樂人的認知和南管音樂文化運作機制上扮演的角色。本文先指出南管分類系統的基本架構由四類門頭所組成，而且此分類系統之雛形最晚到十七世紀初（亦即明末）已經存在於南管曲簿，之後經歷代樂人擴充而成現在的格局。接著本文提出此分類系統在南管樂曲之創作、展演、學習、欣賞上所扮演的角色。在創作方面，門頭牌名是南管樂人創作新曲和新門頭的基礎，並以歷代南管創作實例證明門頭牌名的創作活動至今仍在進行，而且即使近幾十年來南管的演出形式有所改變，門頭牌名仍舊持續存在。在展演方面，門頭牌名乃南管樂人必備之知識，並舉例說明南管曲目分類系統如何為傳統排場提供了曲目安排的基本規範。在學習方面，門頭牌名是南管學習和教學的重要依據，而排門頭的規矩和所謂的五大套（或八大套）指套為南管樂人熟悉門頭牌名提供良好機制。在欣賞方面，門頭牌名是南管樂人欣賞演出的依據和評價其他樂人的標準。最後本文指出門頭牌名是南管音樂之所以為南管音樂的最根本條件，而南管曲目分類系統則是南管音樂文化運作機制的最主要核心。

關鍵字

南管；分類系統；門頭牌名；音樂認知

並列摘要

Classification is one of the basic survival skills for homo sapiens. Using this as the basic premise, this paper investigates the vital roles played by nanguan song classification system in nanguan musicians' cognition and in the working mechanism of nanguan musical culture. It first proposes that the classification system of nanguan songs consists of four main categories of tune families (mentou) and their subordinate tunes (paiming). Then it shows that the nascent form of the classification system already existed in the nanguan songbooks in the early 17(superscript th) century and continued to develop to its present scale through the efforts of nanguan musicians in the past few centuries. This paper then goes on to investigate the roles that the system plays in the creation, performance, learning, and appreciation of nanguan music. In terms of creation, the system provides the basis for the creation of new pieces and new tune families, and such creative process persists to the present despite the many innovative attempts made by musicians in the past few decades to ”reform and improve” nanguan by changing its instrumentation and performance format or style. In terms of performance, nanguan musicians need to acquire knowledge about the tune families and tunes in order to be able to realize the pipa melody recorded in nanguan songbooks into actual music; in addition, the classification system provides the framework for the so-called ”paimentou” (performing tune families) in traditional nanguan concerts in the choices and ordering of the pieces to be performed. In terms of learning, the system serves as the foundation for the teaching and studying of nanguan; moreover, the traditional concerts and the basic five or eight song suites familiarize musicians with the tune families and tunes of the system. In terms of appreciation, musicians depend on their knowledge about the system to evaluate other musicians' artistry and their mastery of nanguan musical theory. In short, this paper proposes that tune families and tunes constitute the basic identifying feature of nanguan music, and that the classification system of these tune families and tunes functions as the core of the operative mechanism of the nanguan musical culture.