南曲的集曲為曲牌音樂與韻文學之變化結構，其內部組織型態至今眾說紛紜、未有定論。若根據曲牌聯綴的外觀，大致可區分為「相同宮調曲牌」以及「相異宮調曲牌」相集的兩大類型。集曲與曲牌聯套均由二支以上的曲牌集綴而成，雖然形式規模有別，然同樣具有「曲組」的結構思維。本研究藉此線索探討隻曲、集曲與聯套之間的結構思維變化軌跡，初步選擇清康熙年間成書、第一部附有音樂工尺譜之南曲曲譜--《南詞定律》為基礎，以該曲譜所列之商調【二郎神】套主要的七支「過曲」曲牌：【二郎神】、【集賢賓】、【鶯啼序】、【黃鶯兒】、【簇御林】、【囀林鶯】、【琥珀貓兒墜】，及其為首曲的「犯調」曲牌為樣本，分析曲牌從「隻曲∕過曲」轉化為「集曲∕犯調」之際，其藝術形式從「解構」到「重構」的結構變化，並討論與【二郎神】聯套之結構的內在思維關聯。

The jiqu (pastiche tunes) of nanqu (southern song) results from the change of the structure of the music and verse of qupai (tune). So far the internal organizational patterns of jiqu have yet to be defined. However, if we examine the external structure of qupai, we can largely distinguish between the two major categories of “qupai of the same mode” and “qupai of different modes”.
Jiqu (集曲) and qupai liantao (tune suite) are created from two or more qupai (曲牌). Although they are different in form, they both show the structural thinking of quzu (tune groups). This study attempts to understand the trajectory of conceptual changes from zhiqu (individual tune) to jiqu and qupai liantao. The subject of the study is Nanci Dinglü (南詞定律), completed during the reign of Kangxi (康熙); it was the first songbook of nanqu that contained musical notation. The Shang mode of the tune suite Erlangshen mainly consists of seven qupai that belong to the category of guoqu (composite tune), namely Erlangshen, Jixianbin, Yingtixu, Huangyinger, Cuyulin, Zhuanlinying, and Hupo Maoerzhui. Using these seven qupai and the first fandiao qupai (modulating tune) as the data, this article analyzes the transformation of qupai from the single guoqu to the jiqu/fandiao combination of multiple melodic sections. It shows how the original lyrical organization and melodic form were deconstructed and then reconstructed into a new qupai structure. It further discusses whether the jiqu of the seven qupai including Erlangshen and the Erlangshen liantao are structurally related.