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Title: 論析崑曲曲牌音樂之體製規律及其變異─以《牡丹亭•遊園》為例─
Other Titles: The Analysis of Rules and Variation of Kunqu Music:The Case of The Peony Pavilion Garden from Kunqu Opera
Authors: 黃慧玲
Hui-Ling Huang
Issue Date: Dec-2012
Publisher: 國立臺灣師範大學音樂學院
College of Music, NTNU
Abstract: 崑曲是我國明、清時期重要的戲曲唱腔之一,崑腔於明嘉靖、隆慶年間,經由戲曲家魏良輔改良後成為以細膩優雅演唱著稱的「水磨調」,由於崑腔流播的過程迅速,對於各地的戲曲產生重大的影響。戲曲家梁辰魚首先將崑腔運用在崑劇《浣紗記》中,也開啟了崑劇演出的輝煌歷史,崑劇發展至今已有四百六十多年,被譽為「百戲之母」。2001 年5 月18 日更經聯合國教科文組織通過,列入「人類口述和非物質遺產代表作」,深受國際社會的肯定,並奠定崑劇的藝術地位。崑劇屬於曲牌體,曲牌體的體製規律結構嚴謹而具代表性,本文將分兩個層面論述,首先論述崑曲曲牌的格律結構:由曲牌、宮調、套數三方面進行探討與分析;其次,再論及崑曲之演唱技巧,探究崑曲曲牌音樂之體製規律與變異的特色。
Kunqu opera is one of the most important types of opera during the Ming and Qing Dynasties in China. The singing of the Kungu dialect was reformed by opera writer Wei Liang Fu between the Jiajing and Khanh Eras. Due to the fluidity of the Kungqu’s dialect, its impact was profound in the field of Chinese opera singing. Opera writer Liang Chen-Yu was the first to implement the Kungqu dialect in the Kunqu Opera "Wun Sha Jounrney": this launched the beginning of a glorious history of Kunqu Opera performance. To date, Kunqu Operas have been performed for over 460 years, and are now recognized as “The Mother of Chinese Opera”. On May 18, 2001, Kunqu opera was recognized by UNESCO as an inclusion in the Oral and Intangible Heritage of Humanity, thus attaining affirmation by the international community of its artistic status. Kungqu opera is considered under the ‘Qupai’ system, which follows structured and well-defined laws of tuning. This article is divided into two levels of discourse. The first discusses the Kunqu Qupai system rules and literary history, which include literary discussions and analysis of the Qupai, mode, and tonal systems. Secondly, the article addresses the requirements for skillful Kunqu opera singing, in order to explore the characteristics of the institutional rules and the variations found in Kunqu opera music.
Other Identifiers: CF53C68B-EEC6-4D6F-762E-4DAF222E3E86
Appears in Collections:音樂研究

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