論南管「曲」門頭(mng^5-thau^5)之「調式」概念

The Concept of the mng^5-thau^5 of Nanguan's khek^4

溫秋菊(Chyou-Chu Wen)

《關渡音樂學刊》 10期 (2009/05) Pp. 191-211

https://doi.org/10.29873/GMJ.200905.0010

摘要

南管「曲」(khek^4)的曲目有數千首，民間音樂家在牢固的口傳經驗上，多依據「大韵」(toa^7-un^7)來辨識曲調門類。作者以為，這不僅是一種「現象」，而是因為「調式」('mode')概念及「調式系統」('modal system')的存在。「曲」具有傳統詞樂的特徵，因此，作者藉助詞樂構成的理論，作為檢驗南管「門頭」的工具，以增強研究的科學性。研究結果則顯示，「門頭」有嚴密組織，其最小的音樂結構單位「大韵」(tune)具有「調式」('mode')特徵，為辨識「門頭」的密碼(code)，「調式系統」之核心。作者基於研究假設，將南管「門頭」與若干已經和西方音樂術語'mode'有所連結(association)的亞洲語言的術語一起觀察；亦即類比波斯－阿拉伯(Perso-Arabic)的maqām，印度的rāga及中國的「調」，目的在於強調其相似性，並進一步探討它們參照不同文化的音樂現象之差異。

關鍵字

曲牌 ； 門頭mng5-thau5 ； 大韵toa7-un7 ； mode ； maqām

並列摘要

There are several thousands of Nanguan's khek^4, which are distinguished their categories mostly by toa^7-un^7 based on musicians' oral tradition. Concluded by author's research it is not only considered as a kind of ”phenomenon”, but also as the existence of ”modal concept” as well as ”modal system”.As khek^4 shows conventional characteristics of the 'c/ music' (詞樂), firstly the constructing theory of 'c/ music' (詞樂) is used as tool in examining the mng^5-thau^5 of Nanguan's khek^4 so that the scientific approach for research can be enhanced. Conclusion of my research has evidenced well-organized mng^5-thau^5, with its smallest musical tune unit 'toa^7-un^7' as the code for distinguishing the mng^5-thau^5 and the core of the modal system.Based on assumptions of the similarity, the 'modal concept' of Nanguan's mng^5-thau^5 has been compared with some terms in Asian languages which have already been established their association with the Western terms of ”mode”, i.e. Perso-Arabic maqām, South Indian rāga. The purpose of my research is to emphasize similarity of the modal concepts among the music in different regions, and to further study the differences in musical phenomena with respect to different cultural backgrounds.

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王櫻芬()。,未出版。