京劇演唱與京胡伴奏之交互作用研究－以梅蘭芳〈女起解〉為例

在京劇藝術當中，唱腔與伴奏旋律之間除了在音樂上有著緊密的關係，更是體現藝術家之間的默契。從早期的錄音資料，以及口述及文本傳記資料中，可以發掘出梅蘭芳如何發展為龐大梅派體系的京劇表演藝術經典，在此過程中，唱腔與京胡伴奏中的關係與變化，是為重要關鍵。學習京劇旦角藝術通常以梅（蘭芳）派戲入門，本論文即以梅蘭芳常作為打炮戲的演出劇目〈女起解〉為對象，探討京劇演唱與伴奏間的交互關係。　　第一章將京劇〈女起解〉發展之脈絡及其演變進行溯源：從民間流傳玉堂春的故事至明代流行之公案小說《海剛峯先生居官公案》；後被馮夢龍收錄於《警世通言》〈玉堂春落難逢夫〉中，以蘇三經歷為主要內容，將故事定型；最後經過多人長時間努力，將故事舞臺化，使得京劇《玉堂春》得以搬演。〈女起解〉原為全部《玉堂春》故事中的一個段落，僅有「別獄神」四句【原板】，經由王瑤卿研究創新大段【反二黃慢板】，加上梅蘭芳伯父梅雨田所編創的「十個可恨」唱腔，使〈女起解〉成為可獨立搬演之劇目。而最早全劇有聲資料，為1957年由梅蘭芳與蕭長華二人共同錄製。　　第二章統整全劇音樂結構，探討劇目中所使用之【二黃散板】、【反二黃慢板】、【西皮導板】、【西皮散板】、【西皮搖板】、【西皮快板】、【西皮流水】、【西皮原板】、【西皮慢板】等九個聲腔板式，其演唱與伴奏之規律性。　　第三章將梅蘭芳的琴師徐蘭沅所歸納出梅氏在演唱時的裝飾性唱法「顛、挑、顫、壓、落、斷、剛、柔」，本論文依其特性，將之分為倚音、長音、收腔、力度等四種行腔規律，結合京胡伴奏中的裝飾音，闡述兩者間的關聯，並藉由比對梅氏〈女起解〉錄音資料，以梅氏演唱之異同，來窺探其不同時期對於角色人物的理解，以及梅派琴師的伴奏與梅蘭芳演唱的交互作用。　　第四章則將伴奏類型分為做表式、引導式、演唱式三部份，列舉劇中使用於演員做表的亮弦、行弦，引導唱腔的過門，以及與演唱具直接關係的唱腔伴奏，從尺寸與旋律的變化切入，說明演唱與伴奏間的氣口安排如何相應配合，探討兩者間之交互作用。

關鍵字

京劇；京胡；梅蘭芳；女起解

並列摘要

In the art of Peking Opera, the singing voice and its accompanying melody share a close musical relationship. This relationship also reveals a chemistry between the singer and the musician. From a study of early recordings as well as oral and written history, it is possible to discover how Mei, Lan-fang developed his classical Peking Opera performance style known as the Mei School, which emphasized the relationship and the variations within. The learning of Peking Opera Dan (旦) roles usually begins with a study of the Mei (Lan-fang) School, and this thesis explores the interaction between the singing voice and its accompaniment in Peking Opera, using Mei, Lan-fang’s canonical performance of the opera ‘The Female Prisoner Su San’ as a case study. 　　The first chapter traces the development and evolution of the Peking Opera ‘The Female Prisoner Su San’, beginning with the oral folklore of Yu Tang Chun and its evolution into the popular novel from the Ming Dynasty: The Case of Mr. Hai, Gang-feng’s Official Residence. The story is then included in Feng, Meng-long’s Stories to Caution the World as Yu Tang Chun Reunites with Her Husband in Her Distress, and is then shaped into its current version, which focuses on Su San’s experience. It is finally adapted into an opera for the stage called “Yu Tang Chun” through the hard work of many different people over a long period of time. ‘The Female Prisoner Su San’ was originally one of the scenes from “Yu Tang Chun” , with only four lines in the section Farewell to the God of Hell (Yuan Ban原板). It was then developed into a larger scene by Wang, Yao-qing (Fan-Erhuang Man Ban 反二黃慢板), in addition to the singing style of Mei, Lan-fang’s uncle Mei, Yu-tian’s Ten Hates (十個可恨), resulting in the stand alone performance ‘The Female Prisoner Su San’ . The earliest audio recording of the entire opera was made by Mei, Lan-fang and Xiao, Chang-hua in 1957. 　　The second chapter consolidates the entire musical structure of the opera and discusses the nine vocal patterns used in the opera, namely: Erhuang San Ban, Fan-Erhuang Man Ban, Xipi Dao Ban, Xipi San Ban, Xipi Yao Ban, Xipi Kuai Ban, Xipi Liu Shui, Xipi Yuan Ban, Xipi Man Ban. This chapter also explores the regularity and relationship between each vocal singing pattern and its accompaniment. The third chapter summarizes Mei, Lan-fang’s Jinghu master Xu, Lan-yuan’s ornamental singing techniques, namely Acciaccatura (顛), Picking (挑), Tremble (顫), Suppress (壓), Falling (落), Breaking (斷), Strength (剛) and Softness (柔). These techniques are classified into four types of rhythms, such as Appoggiatura (倚音), Long Tone (長音), Harmonic Cadence (收腔) and Dynamic (力度). The chapter explores the relationship between the Jinghu accompaniment and each singing technique according to their characteristics. By comparing the various recordings of Mei’s. ‘The Female Prisoner Su San’, and the similarities and differences in Mei’s singing, we are able to explore how Mei, Lan-fang’s understanding of the character he plays changes over time and the interaction between the Mei School musician’s accompaniment and Mei, Lan-fang’s singing. 　　The fourth chapter divides the accompaniment into three parts, namely Movement (做表式), Lead-in (引導式) and Singing (演唱式). It then lists the different types of strings and its relationship with the performer’s singing in the Lead-in part, such as Liangxian (亮弦) and Xingxian (行弦). The chapter then explores the relationship between vocal instrumentation and the vocal singing pattern accompaniment, based on changes in size and melody, in order to explain the interaction between singing and accompaniment based on how the breath is arranged into the musical accompaniment and how these elements affect each other.