南北曲牌宮調與管色關係考

Investigation of the Relationship between Gongdiao and Guanse in Southern and Northern Music Tunes

馬驌(Su Ma)

《戲曲學報》 7期 (2010/06) Pp. 101-137

https://doi.org/10.7020/JTCT.201006.0101

摘要

本文針對我國「宮調學」研究史上自明迄今歧意蔓生的根本症結－明初南北曲牌之標調形式從「樂色標調」遞變爲「笛色標調」後，所造成的「宮調學」在理論上或實踐中的斷層狀態，以南北詞譜爲第一手資料，并以《詞源解箋》宮調理論爲依據，論定南北曲牌宮調體系是「隋唐燕樂二十八調」的繼承、南北曲牌「笛色標調」是燕樂調「樂色標調」的演變、南北曲牌定調笛是「隋唐燕樂調」定調應律樂器的沿用等三大重要課題，爲今後進一步深入研究南北曲牌宮調的歷史面目奠定初步基礎。

關鍵字

宮調 ； 樂色標調 ； 笛色標調 ； 曲笛 ； 十三調 ； 商角

並列摘要

This article aims at the fundamental problem in the Study of Gongdiao (the gong tune) on which diverse arguments accumulated from the Ming dynasty (1368-1644) up to this day, namely the gap in both theory and practice caused by the form of biaodiao (marking tunes) changing from yuese biaodiao to dise biaodiao during the early Ming. Taking southern and northern formularies of lyric as the first hand material, basing on the Gongdiao theory in ciyuan jianjian, this article discusses and determines 1) the Gongdiao system of the southern and northern music tunes was an inheritance of the suitang yanyue ershi ba diao (Twenty-Eight Tunes of the Sui and Tang Popular Music); 2) dise biaodiao of the southern and northern music tunes was evolved from the yuese biaodiao in the popular music tunes; 3) the settling-tune flute used in the southern and northern music tunes was a continuation of the music instruments applied for settling tune and regulating pitch in suitang yanyue diao (popular music tunes of the Sui and Tang). These three important issues addressed here are to lay basic foundations for further research into the historical facets of Gongdiao in the southern and northern music tunes.

並列關鍵字

gongdiao ； yuese biaodiao ； dise biaodiao ； aria flute ； thirteen tunes ； shangjiao