集曲，是一種經由割裂現有各種曲牌（曲調）片段，而後另行排列組合成曲，存在型態特殊的南曲樂類。此類曲目雖引用既成音樂，所成音樂樣態，及其曲目歷史發展傾向，則趨向追求高度設計感、強調個別組織結構化表現手法的風格特徵。不同作家運用或創作集曲，不僅有為映襯彰顯曲詞語言表現目標，更可見企圖發展兼顧音樂性與文學性的結構技巧，從中藉以突顯、擴張作品整體形式內涵多重表現層次的美學意趣。作為一種常以音樂組織訴求自我表現特徵的音樂現象，集曲文化的成形與歷史發展自有文化基礎與時代氛圍背景，但始終猶如裝飾性產物般，廁身處於南曲文化邊際間，成為一種既突出且又隱晦的文化產物。本文以「集曲歷史的現象詮釋」為題，分析討論明代南曲文化其中集曲此一相對特殊樂類歷史現象。進而透過曲目內容的存在與紀錄樣態，結合集曲形式表現特徵，從二者所隱含的歷史線索，觀察不同類型集曲曲目所表現形式構造型態現象，討論文化現象之於歷史歷程間自我揭櫫的文化形象與詮釋旨趣。

Jiqu (pastiche tune) is a special sub-genre of nanqu (southern song) of the Ming dynasty. It was composed by combining and reordering segments of existing tunes and exhibited a high level of structural design both in its lyrics and music. However, as a marginal sub-genre of nanqu, jiqu has remained somewhat obscure and has received little scholarly attention. This article aims to fill this gap by examining the cultural-historical development of jiqu. It takes as its clues the traces of jiqu as found in existing operatic and musical performances and as documented in music scores. Furthermore it analyzes the characteristics of the musical forms of various types of jiqu. Finally it discusses the cultural self-imagination of jiqu and the issues of interpretation in relation to its historical processes.