本文主要探討的內容，是jt管細曲中一類被稱為大小牌的樂曲結構。對於j七管細曲的稱呼，在目前所見文獻與民問藝人所習慣稱者，常見的有以下幾種說法:崑腔、細曲、幼曲、大小牌、小曲。上述所指，或基於樂曲風格、曲目種類、同聲異字...等。透過演唱藝人口述、抄本內容研究、及樂曲來源探討與結構分析等不同面向的整理，筆者對於該類音樂有以下看法:緬由是一類風格典雅的北管歌樂之泛稱，其下包括了大小牌、小曲與南詞、崑腔等幾類不同來源的曲日，當中又以大小牌的數量最多。大小牌是一種具有特定曲牌形式的歌樂曲日，這類樂曲皆由大牌或小牌，甚至是小牌接大牌成套所組，無一例外。小牌是指藝人口中所吉或抄本標示為【碧波玉】、【桐城哥大】(含【數落】)、【雙疊翠】等幾個名稱之固定曲牌，通常以上述排序的聯套形式出現，當中的第一支曲牌【碧波玉】'亦可被拿出來獨立使用，成為像是【桃花燦】、【三更天】、【小思潘】...等單曲形式的小牌曲目。透過曲牌的概念來進行較多曲譜的比對，可以整理歸納出這些特定曲牌在曲調與曲辭上的基本格式，進而確立小牌樂曲的體例O大牌則是一段或數段在抄本中被標示為「大牌」的曲調，其樂曲結構與小牌明顯不同O亦由於各個大牌問的形式不一，在理解上需針對不同曲目來進行個別旋律組成分析，但多能在明清以來的各類曲本中，比對到較為接近的曲辭來源。經由目前所能演唱的大牌曲調分析之，可見諸多大牌間亦存在著某些傳統樂曲常見的作曲手法，像是集曲、合頭合尾、單句複唱、聯曲體...等O總結本文所討論的內容，I大牌」與「小牌」之別，從文獻記錄與曲牌特點來看，應是出於來源差異而非樂曲篇幅。明清之際所流傳的崑弋大戲與說唱俗曲，二者在相較之下有了大小之別，其次經由曲牌旋律與曲辭組成上的探究所得，應可初步證實大小牌乃為上述二者在相互影響發展下所產生的一類音樂內容。

his paper primarily discusses the music structure of iu3 -khee (lit.refined songs) in pak4-koan2. Itis also called khun-khiang (kun tunes)，toa。7_sio2_pai5 (largeand small labeled tunes) or sio2-khek4 (small tunes) in various documents and by insiders. The nomenclature of the foregoing terms is based on the style and sub-categories of the refined songs. By interviewing pak4 -koan2musicians， studying manuscripts， and analyzing the music structure of iu3 -khee， the author proposes that“iu3 -khee" is a general term for the refined songs in pae -koan2. Itconsists of four sub-categories:
toa7-sio2-pai5， sio2-khee， lam5-su5， and khun-khiang. Among these sub-categories， toa7-sio2-pai5 occupies the primary domain of iu3 -khee. Itrefers to a type of songs which employ specific labeled tunes and are grouped into toa7-pai5 (largelabeled tunes)， suites of sio2-pai5 (small labeled tunes)， and suites of sio2-pai5 and toa7_pai5. Sio2-pai5 refers to labeled tunes entitled phee-pho-giok4， tong5seni-ko (including S003 -loh 4)， and siang-tiap 4 -tshui3. Each of their lyrics and melodies has fundamental formats which mold the structure of sio2 -pal Toa7pai5 is also used to entitle a kind of labeled tunes which music structure is clearly different from the sio2 _pai5. Although the structure of each toa7-pai5 piece is varied from each other， most of the tunes and lyrics can be traced back to songs in the Ming and Qing dynasties. By examining the toa7-pai5 maintained nowadays， we can see several common mechanisms of composition used in traditional Chinese music， such as jiqu (gathering several labeled tunes in one song)， hetou/hewei (beginning/ending with a common melodic pattern)， repetition， and suites are also used in various pieces of toa7-pαi5. In short， according to documents and features of labeled tunes， the difference between toJ-pαfand sid-pof is the sources rather than the size. Since the grand theater of kunqu and yiiangqiang and the storytelling between the Ming and Qing dynasties reveal difference in scale， by exploring the setting of lyrics and melodies， it is provable that the toa7 -sio2 _pai5 is a music category which was influenced and developed from the interaction between the above mentioned grand theater and storytelling.