明清崑腔音韻度曲的發展脈絡

The Development of Kunshan Accents of Duqu Phonology in the Ming and Qing Dynasties

李惠綿(Li, Huei-Mian)

《戲曲學報》 24期 (2021/06) Pp. 1-62

https://doi.org/10.7020/JTCT.202106_(24).0001

摘要

音韻學運用於度曲論，起源於元，興盛於明，傳承於清。明清著名的曲學論著或選集評點，主要以南曲「崑山腔」為課題。本文以「崑腔音韻度曲」為核心，探討明清曲學家鎔鑄音韻學詮釋「作曲論」與「演唱論」，勾勒明清崑腔音韻度曲的發展脈絡。從「演唱論」的脈絡觀察，魏良輔（約1526－約1586）《南詞引正》以曲話形式提出崑腔度曲論之大綱，援用音韻學而成為奠基之作。沈寵綏（？－1645）《度曲須知》以專書呈現繁富龐大的體系。這兩本著作分別是崑腔改革創發與盛行巔峰的標幟，反映崑腔音韻度曲論從形成到建構的歷史過程。從「作曲論」的脈絡觀察，王驥德（約1560－1623）《曲律》，充分運用音韻學建構南曲音律論。以王驥德為中心，前有沈璟（1553－1610）《南詞韻選》、《增定南九宮曲譜》，從評點和曲譜的體例，建構音韻格律規範。後有馮夢龍（1574－1646）《太霞新奏》，評點南散曲，再度演繹「調協、韻嚴」的音律論。一脈相承的「作曲論」，不僅講究文字音律之精準，同時講究演唱旋律之和諧，印證「音韻」是音律論和演唱論的核心交集。明代戲曲音韻學呈現「作曲論」與「演唱論」兩大脈絡交錯發展，分別以王驥德《曲律》與沈寵綏《度曲須知》為崑腔音韻度曲巔峰之作，論述完備，規模龐大。時至清代，李漁（1611－1680）《閒情偶寄》兼具創作與表演理論，其音律論偏重填詞製曲影響聲情的體現，是承上啟下的曲學大家。而後，崑腔音韻度曲從演唱論脈絡擴大延展：毛先舒（1620－1688）《南曲入聲客問》專論南曲入聲唱法；徐大椿（1693－1771）《樂府傳聲》偏重聲樂理論，講究傳聲口法與崑唱北曲方法；可見度曲論愈趨理論化與抽象化。至於黃旛綽《梨園原》（1819－1829）則偏重表演藝術論，顯見清代在前朝未盡之處，開拓了崑劇表演論與演唱論的成就。

關鍵字

崑腔 ； 音韻 ； 度曲 ； 作曲論 ； 演唱論

並列摘要

Applying phonology to Duqu study originated from the Yuan dynasty and continued in the Qing dynasty. The main topic of the qu study or qu commentaries in the Ming and Qing focused on the Kunshan accents in the Southern drama. Centering on the Kunshan accents of Duqu, the article explores how the Ming and Qing qu scholars interpreted the theory of composition and the theory of singing in terms of phonology, depicting the development of Kunshan accents of Duqu phonology in the Ming and Qing dynasties. Based on the development of the theory of singing, Wei Liangfu's (ab. 1526- 1586) Nanci yinzheng outlines the theory of Kunshan accents of Duqu in terms of the format of quhua by citing phonological knowledge so that it became a fundamental work of Duqu study. Shen Chongsui's (?-1645) Duqu xuzhi as a monograph presents a rich qu system. These two works respectively demonstrate the markers of the beginning and zenith of Kunshan accents reform. Based on the development of the theory of qu composition, Wang Jide's (ab. 1560-1623) Qulu fully applies phonology into the construction of prosody in the Southern drama. Wang's work was considered the center of the qu composition study as Shen Jing's (1553-1610) Nanci yunxuan and Zengding nanjiugong qupu pioneered in setting rules of commentaries and qupu. Following Wang's work, Feng Menglong's (1574-1646) Taixia xinzou commentates the Southern sanqu, reinterpretating qu prosody through the ways of ＂harmonious tones and strict rhymes.＂ Developing in continuous line, the theory of qu composition put stress on the accuracy of prosody and the harmony of singing. This assures itself that phonology is the core joint of prosody and singing. The development of drama phonology in the Ming showed its complexity under the contexts of developing qu composition and qu singing. Taking Wang's Qulu and Shen Congsui's Duqu xuzhi as representative works at the apex of evolving Kunshan accents of Duqu phonology, the Ming drama phonology was completely discoursed and involved large-scale discussions. In the Qing, Li Yu's (1611-1680) Xianqing ouji, with theories of creation and singing and continuing the previous qu study, stresses more on how qu composition impacted on the sensibilities of sounds. Later on, Kunshan accents of Duqu phonology was expanded starting from the theory of singing to other fields. For example, Mao Xianshu's (1620-1688) Nanqu rusheng kewen principally theorizes in the singing methods of checked tones of the Southern drama. Xu Dachun's (1693-1771) Yuefu chuansheng emphasizes the vocal theory, particularly regarding sound transmission and oral methods, and the ways of singing Kunshan accents in the Northern drama. It thus shows that Duqu study was increasingly theorized and abstracted. Huang Fanchuo's (1819-1829) Liyuanyuan underlines the theory of performing arts, which confirms that the qu scholars in the Qing explored the unmentioned fields from earlier qu study, making a record of achievement in constructing the theories of singing for Kunqu.

並列關鍵字

Kunshan Accents ； Phonology ； Duqu ； Theory of Qu Composition ； Theory of Singing

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