南、北曲交化下曲牌變遷之考察

Abstract

南、北曲原有其體制、風格等的特質，然而當元代中晚期北曲流傳至南方之後，南、北曲交互影響，遂有體制、套式、唱法等的變化，本文關心的焦點則是在南、北曲交融的背景下，南、北曲曲牌本身，是否亦有北化或南化的情形？筆者以「曲牌格律」、「聯套用法」及「唱腔音樂」的變化作為切入點，考察北曲南化及南曲北化的曲牌，且鑑於「曲」為一合樂的文體，故考察的對象包括劇本及曲譜。「北曲南化」的曲牌，可以【清江引】為代表，此曲原為北【雙調】套中之曲，偶作尾聲，後可作為南北合套的尾聲，且唱作南腔；甚而有作為南套過曲、尾聲、引子、插曲之例。「南曲北化」的曲牌，可以【撲燈蛾】為代表，此曲原屬南［中呂］過曲，但聯入【中呂】南北合套後，唱作北腔；曲牌名甚至改稱【疊字犯】，被視為北曲聯套。此類兼融南、北的曲牌雖不多，但頗有助於描述南、北曲交化的豐富內涵並可由此探求曲牌變遷的可能途徑，以及曲牌的文、樂關係。

Originally, nanqu (literally ”Southern Songs”,南曲) and beiqu (literally ”northern Songs”,北曲) have their own features of regulations and styles. After the middle of the Yuan Dynasty (元代,1260-1367), beiqu spread to the southern lands. Beiqu and nanqu influenced each other in respect of regulation, composition, singing method, etc.. This essay investigates if the tunes of nanqu have been influenced by beiqu (南曲北化) or the tunes of beiqu influenced by nanqu(北曲南化).This essay chooses the changes of ”the rules of tunes”, ”the composition of tunes” and ”the music of tunes” as the entering point of discussion. The qingjiangyin (【清江引】) represents the tunes of beiqu which have been affected by nanqu; the pudenge (【撲燈蛾】) represents the tunes of nanqu which have been affected by beiqu. There are only a few tunes to have been affected; however, these tunes give clues of interaction between nanqu and beiqu. Through these tunes, we can also explore the possible transitions of tunes, and the relationship between the poetry and music of the tunes.