從《五弦琵琶譜》論唐代大曲之摘遍和樂譜－以〈何滿子〉與〈簇拍陸州〉為例

唐傳《五絃琵琶譜》，葉棟先生曾譯琵琶譜三十二首，其中可填配同名唐聲詩者有十二首。可作爲「大曲」摘遍的部份，有《五絃琵琶譜》的第十首〈何滿子〉，以及第十一首〈六胡州〉（即〈簇拍陸州〉）二曲，此二首皆可填配唐詩的同名歌辭。本文筆者即以葉先生所譯的樂曲二首，以及唐聲詩《全唐詩》、《樂府詩集》與《敦煌歌辭總編》中，屬於〈何滿子〉與〈簇拍陸州〉二格調之「大曲」歌辭爲主要的探討對象。各節重點如下：第一，由二首聲詩格調的沿革，可知格調名稱的由來，以及字數、句數的使用情況；第二，從聲詩與格調的聯繫得知，同一格調，各聲詩的內容究竟爲何；第三，說明琵琶器樂曲譜與詩歌疊唱的關係。

關鍵字

五絃琵琶譜；大曲；何滿子；簇拍陸州

並列摘要

The musicologist, Yeh Dong, had translated 32 music scores of ”Five-string Pipa Scores” from the Dang Dynasty. Twelve of them could be used as the tunes for composing the Tang Shengshi of their namesake. Two tunes, the tenth tune (He-Man-Zi) and the eleventh one ”Liu-Hu State” (i.e. Chu-Pai-Lu State) could be used as the selected section of ”Daqu.” These two tunes can be used for composing the Tang poems of their namesake. The subjects were mainly the two tunes translated by Mr. Yeh and the Daqu in the Tang Shengshi ”Quantangshi,” ”Yue-Fu Poem Anthology,” and ”Dunhuang ge ci zong bian” (The Collection of ci fond in DunHuang cavern) composed based on the two tunes ”He-Man-Zi” and ”Chu-Pai-Lu State.” The focuses of each section are as follows: 1) to investigate the origin of the name of the tunes and the usage of both the numbers of words and sentences from the course of change and development of these two tunes; 2) to understand the content of each Shengshi of the same tune according to the connection between Shangshi and tunes; 3) to indicate the relationship between the music scores of Pipa and repeated singing of poetry.