「嫁尪要嫁高文舉,娶某要娶朱弁妻。」朱弁與高文舉同為小梨園十八棚頭中重要劇目,在南管中亦保留眾多曲目,其中朱弁故事部分,除呂錘寬有〈南管音樂初探「舉起金杯」的結構〉外,尚無其它學術成果,是值得注意的課題。本文共分四部份,第一部分前言,解說研究的範疇與曲譜的選用。第二部份為朱弁故事曲譜的分析,比較明萬曆刊本《滿天春》、《鈺妍麗錦》、《百花賽錦》及清道光寫本《袖珍寫本道光指譜》、清咸豐刻本《清刻本文煥堂指譜》,並以今所流傳譜曲《閩南音樂指譜全集》所錄朱弁故事作為對照,探討朱弁故事在此六種曲譜中的演變。除了將朱弁故事曲譜在弦管中所保有之曲牌,與南、北曲曲牌作比較,進行格律分析,以探討南管與南、北曲之關係外,並論述此六種曲譜於朱弁故事中所展現的特質,及音樂上的差異。
The story of Zhu Bian (朱弁) is still on the stage in Li-yuan Opera (梨園戲). Also, there are many tracks about Zhu Bian in Nan-guan (南管) music, and it is the story that becomes an important repertory in the theater of Min-nan (閩南). We can find something about Zhu Bian from three versions of Ming (明) Dynasty block-printed editions and two versions of Qing (清) Dynasty transcripts. The story of Zhu Bian are used in proverbs and Taoism oracles which are closely related to popular daily life, are therefore a topic worth researching.The thesis aims to study the evolution of the relationship between the music scores and the tunes in Ming and Qing Dynasties by comparing the tunes (曲牌) and the lyrics (曲詞).