北管西路戲曲〈過昭關〉之反調唱腔詮釋與分析

北管西路戲曲〈過昭關〉中的唱腔，正調與反調的皆有，本文將以較罕見的【反二黃倒板】、【反二黃二板】、【反二黃緊板】、【反二黃】等反調唱腔，作為本文詮釋與分析的對象。首先，透過對〈過昭關〉故事梗概在歷史上的發展進行瞭解，同時比較與北管所傳〈過昭關〉文本之異同。其次，分析該劇所見的反調唱腔，並一一釐清各類唱腔結構，以記錄個人之音樂詮釋。最後，討論西路二黃唱腔與福路平板唱腔之間的關係，試圖追溯其唱腔源頭，將這兩者之曲調與板式進行對照，以佐證它們可能相同的聲腔來源。

關鍵字

北管；西路戲曲；過昭關；反調；莊進才

並列摘要

The guozhaoguan includes Zhengdiau(正調)and Fandiau(反調) melo-metric tunes(唱腔)which are rendered in the Xiluxi(西路戲, the new style theater) of Beiguan theater music in Taiwan. In this study, the primary object of interpretation and analysis will be Fan erhuang daoban(反二黃倒板), Fan erhuang erban(反二黃二板), Fan Erhuang Jinban(反二黃緊板), Fan Erhuang(反二黃) and other Fandian melo-metric tunes, which are not common in Beiguan. At first, go through the story of guozhaoguan to understand the development and compared with the text of Beiguan guozhaoguan. Secondly, analyze the fandiau melo-metric tunes used in Guozhaoguan, clarify and interpret the structure of melo-metric tunes. Finally, discuss the relevance of Xilu Erhuang(西路二黃) and Fulu Pingban(福路平板) to retrospect their source, and compare them to give the evidence that these two melo-metric tunes are from the same acoustic cavity source.