篇名 | 明雜劇北曲聯套隅論 |
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卷期 | 13 |
並列篇名 | The Variations of the Composing Rules of the Northern-Tune Songsets in Ming Tzarjiuh |
作者 | 許子漢 |
頁次 | 115-141 |
關鍵字 | 北曲 、 明雜劇 、 聯套 、 宮調 、 曲牌 、 Ming Tzarjiuh 、 the Northern-tune 、 songset 、 kung-tiao tonality 、 tune 、 THCI |
出刊日期 | 201106 |
明雜劇北曲的聯套規律,與元人之用法不同,已是自明代學者即己明確指出之事實,但此中變異之具體描述,與原理之析論仍有待補充。本文先就觀念進行釐清,並說明討論北曲聯套規律的變化,可有三個不同層次:全劇之宮調搭配、單折(齣)之套式運用、聯套單位之組成與用法。其次具體列舉六項在明雜劇中北曲聯套與元代用法不同的問題:宮調與折次的搭配、【越調】的使用比例、【黃鐘】的用法、【般涉調】的用法、套式的簡化趨同、〔寄生草〕曲牌的用法,具體列舉劇例,分析其與元代差異之處,及其可能的原因。經本文分析可得知,元明兩代之變異,其中有明人不明北曲之理,誤用之處,但亦有雖為創新,但暗合北曲原理的用法;有些則是南北曲交化的影響;有的則為基於戲劇原理、演出需求的創造。
The differences, or variations, of the composing rules of the Northern-Tune songsets, between the Northern Tzarjiuhs in Yuan and Ming dynasties, had been found early in Ming dynasty. But from Ming dynasty till now, a concretely and precisely detailed description about the variations is still in absence.This essay specifies six issues about the variations: 1, The relationship between kung-tiao (tonality) and act order; 2, the percentage of the plays that includes a Yueh-Tiao act; 3, the application of Huang-Chung-Kung; 4, the application of Pan-She-Tiao; 5, the tendency towards simplification and assimilation of songset patterns; 6, the application of Chi-Sheng-Tsao. For each issue, this essay tries to make a concretely and precisely detailed description.In further analysis of these six issues, the predictions about the reasons of these variations are made. And this essay tries to present a new concept about the variations of the composing rules of the Northern-Tune songsets, between the Northern Tzarjiuhs in Yuan and Ming dynasties.