曲牌組合形式之探討

「曲牌」長期的發展，成為文人與音樂家共同創作的藝術，使得曲牌音樂有很好的發展，並大量運用於戲曲和曲藝中，形成某些戲曲劇種音樂和曲藝音樂的組成單位，如崑劇就是以曲牌為基本單位組成的戲曲劇種；曲藝中的唱賺、諸宮調、單弦牌子曲等也是曲牌體的形式。在戲曲與曲藝中，為了故事情節裏情感性格的呈現，和排場長短的運用，產生由單曲重頭到綴合聯套的曲體。一些文獻資料和劇本中，經常運用曲牌的不同組合敘事，但是卻少有規整其理論架構的研究，據筆者多年的分析探討與觀察，梳理出一些曲牌組合的形式，以邏輯的排序法，從簡單到複雜的形式有重頭、重頭變奏、子母調、帶過曲、雜綴、曲組、套數、合腔、合套、集曲和犯調等十一種類型，期能對於我國傳統音樂曲式方面建立理論基礎。本文前言部分梳理岀歷代關於曲論、曲集和曲譜的文獻，以及說明何謂曲牌體、曲牌的體製、曲牌的性格等；章節中對於曲牌的運用與發展中十一種曲牌組合的曲式，以舉例証的方式進行探究，並一一分析其曲牌組合規律和其特性，為曲牌音樂建立系統性的曲體形式；在結論部分則敘述這些曲式結構的重要性及其功能。

關鍵字

曲牌；套數；合腔；合套；集曲；犯調

並列摘要

”Chu-pai-ti” in Chinese arts of tzu and chu has long been part of ballads and opera. It has developed rapidly since the Tang and Song Dynasty and consequently transformed into many different types of chu-shih. It has been used largely In Chinese opera and ballads, so it's quite important. In Chinese opera and ballads, in order to present the emotions and characters in the stories and to apply to pai-chang of different lengths, chu-ti ranging from single chu with chung-tou to combinations of chu were invented. Such examples include chung-tou, variations of chung-tou, tzu-mu-tiao, tai-kuo-chu, tsa-chu, chu-zu, tao-shu, he-giang, he-tao, chi-chu, fan-tiao and so on. The content of all these different chu types all focuses on the lyrics and the variations in the musical forms. From analysis of ballads and opera pieces, this paper aims to discuss all the different forms and types of ”chu-pai” and their structures. This paper will first define ”chu-pai-ti” and it will discuss the key elements comprising the musical part of chu-pai-ti, which include the kung-tiao (the key, form and character of tiao), the panyen (pai-hao and rhythm), the melody and the accent. The paper will analyze the patterns of combinations of chu as well as the nature of tao-chu. With a long history of continuous development, chu-pai music has become more diverse, refined and artistic seen from a literal as well as a musical perspective.