《納書楹曲譜》之集曲作法初探

Exploring the Concept of Jiqu in "Nashuying Qupu"

林佳儀(Chia-Yi Lin)

《臺灣音樂研究》 6期 (2008/04) Pp. 95-130

https://doi.org/10.29785/FJMR.200804.0004

摘要

南曲「集曲」的作法自明中葉開始盛行，作家相繼創作，曲牌總數因此大為增加，葉堂訂定《納書楹四夢全譜》時，更是以集曲之法「宛轉相就」湯顯祖不合格律的曲丈，終使《四夢》全本得以付之歌場。然而，集曲如何組織源自不同曲牌的句子？音樂之間又該如何銜接？本文以清乾隆年間曲家葉堂訂譜的《納書楹曲譜》正續外補四集、《納書楹四夢全譜》之集曲為研究對象，從集曲「摘句相連」的概念出發，探討集曲的名稱、歸納集曲摘句相連、首尾歸本格、多重首尾等作法，並分析集曲各摘句間宮（或笛色）銜接、板眼銜接、音程銜接、句法銜接等，論其音樂現象。就目前研究所得，筆者認為：南曲中的集曲，固為曲牌變化及增加的重要手法，但偏重文學性質，以因應文詞句式為主；音樂方面著重其銜接和諧。

關鍵字

納書楹 ； 南曲 ； 曲牌 ； 犯調 ； 集曲

並列摘要

The concept of jiqu（collective tunes,集曲）in writing nanqu（literally ”Southern Songs”,南曲）started to become popular in the middle of Ming Dynasty (1368-1644). Many writers created numerous tunes（曲牌）based on this concept; thus the number of these tunes increased tremendously. When Tang Ye（葉堂）wrote ”Nashuying simeng quanpu”（《納書楹四夢全譜》）, he adjusted the musical score to fit Hsian-tsu Tang's（湯顯祖）original lyrics using the concept of jiqu, which allowed for all the ”Simeng”（《四夢》）to be sung. However, questions remain such as what were the rules of jiqu when collecting phrases from various Southern Tunes and organizing them into a new tune? What were the methods of connecting different tunes?This essay explores the approaches to naming new jiqu tunes, introduces the rules of creating jiqu, and analyzes various techniques of connecting musical pitches by examining Tang Ye's ”Nashuying qupu”（《納書楹曲譜》）and ”Nashuying simeng quanpu”. Although jiqu was undoubtedly a major means to improve or create new tunes, the author of this essay now believes that the literature was the primary concern when composing a new tune - as long as the music still sounded harmonious.

並列關鍵字

Nashuying ； nanqu ； tunes ； fandiao ； jiqu