別裁與正宗：曲牌音樂的現象存有與歷史實踐

Abstract

摘 要 漢族藝術傳統自存一類以「曲」為名的文化體系。其中人文特徵包含以曲牌為曲目總稱的音樂現象，與長久以來透過創作、表演所建立傳統；及其在相關活動歷史累積過程間，為說明音樂內涵與建構特定文類—「曲」文學，逐漸形成以「曲學」為名的知識體系。在此文化體系內論曲傳統的藝術理念，尤其對音樂美感經驗的詮釋以及理解音樂的方法，向以追求「正宗」、「典型」為核心價值。進而再由內在理念發展為客觀化的格律理論。然相對於理論家企圖為每一隻曲牌訂定確切的內容，客觀世界中的音樂表現卻始終出現各種變化型，格律如何規範也常有莫衷一是的意見。因而正宗典型之外，不斷又有各種別裁現象的發展。理想與實況、正宗與別裁之間的差異，似乎成了長久以來曲學理論無從調和的矛盾。從格律理論所表現對曲牌音樂內容的認知模式，我們可以知道，「正宗」的概念之所以能夠長期主導曲學理論思想，源於曲家在認知的意向行動上，肯定一切曲牌皆有其特定實存的內涵。而且此一實有的主張，顯然不以確定的旋律現象為根據，而是透過主體認知意識中對音樂抽象存在的把握能力所完成的。故而在曲牌格律所見內容，實為音樂可變形象內在安定成份的理論詮釋。

本論文以此曲牌音樂現象為主題，經由現象在歷史中的存在與認知活動，分析有關內容的構成與組織形態。為能分析、理解並闡明此一現象，筆者運用音樂所處歷史脈絡之「別裁與正宗」文化觀、古典曲論各家論述，以及不同曲牌音樂自身存有形態表現，分析、說明三者在發展進程間的交叉互動與辯證關係。同時並藉多元詮釋範疇為論述框架，就此音樂文化傳統在歷史間的互動現象，展開提問與觀察研究。

個人在研究過程間，經由音樂及曲目形態現象分析觀察到，古典理論較不關心的集曲形式及其組裝音樂手法現象，其實提供著一種更貼近於古人視野的客觀依據，有助於我們分析曲牌音樂組織特性；其次，不論曲牌格律範式，或民間傳統有關「曲骨」的概念，與實際音樂深層的構造存有，彼此之間無法直接類比。這些現象只能說明古人如何從主體認知立場去分析與把握音樂對象，以及經此意向過程完成的詮釋內容。但卻導引著筆者由此延伸為曲牌音樂「現象存有」分析基礎。指出音樂具有可變形的再發展特徵，除有適應曲詞語言聲調的需要外，更涉及任何曲牌不只是單一獨存的曲目，通常又必須相互結合為一更大規模的結構，成為特定作品中的組織元素。在因應各種結合情況的過程中，「可變」成了曲牌音樂根本的藝術特徵之一。從內在安定的本有，到各種變形，再到組合特定作品，以至於實際演出的表演詮釋。個人以為，此一現象在藝術的形式特質上，實際展示了一個可分層充實的多層次框架。甚至於單一曲牌自身內部同時亦有此現象。故而若能披露此一從內在本有到外部展示過程，曲牌音樂藉此多層次框架構造，如何於每一層次間逐步得到充實與再詮釋。曲學傳統理論中的認知矛盾即有可能得到解決。Abstract

Among the Han Chinese traditional arts, there exists a cultural system known as qu. This system is characterized by the classification of songs into tunes or qupai and its tradition of compositional and performance practices. Through the long history of these practices, a knowledge system known as quxue (namely the study of qu) was formed to explain its musical content and the literary tradition of its lyrics. In the artistic ideas of this cultural system,“classicism” and “archetype” have long been upheld as the core ideal to be pursued, particularly with regards to the interpretation of musical aesthetic experiences and the way to understand music. These ideas further developed into theories of gelü or “rules of text-setting”. But, in contrast to the efforts of the theorists to codify the precise rule for each tune, the actual musical practices always exhibit variances, and opinions about the rules also vary. As a result, there were many variants that were developed from the archetypes. Such differences between theory and practice and between archetype and its variants have been reflected in the conflicting views in the theory of quxue. From the way in which the theory of gelü explains the musical content, we can infer that the reason why classicism dominates the theory of quxue lies in the fact that qu scholars believe that there is a definite and real content of each and every qupai. Moreover, such belief is apparently based on their subjective understanding of the abstract existence of the music instead of the actual melodic phenomena in their many variant forms. Consequently, the gelü of qupai is actually a theoretical interpretation of the stable elements underneath the variable appearances of the music. This dissertation takes the phenomena of qupai music as its subject and attempts to analyze the constituents and the structure of its content through its manifestation and interpretation in history. In order to analyze, understand, and explicate this phenomenon, I will use the cultural view about variants and classicism, the discourses by the classical theorists of qu, and the actual music itself to explain how these three interact with one another in dialectic relationship in historical processes. Meanwhile I will also employ multi-interpretation as my framework to raise questions and make observations regarding the history of this musical/cultural tradition. Through this study, I found that the so-called jiqu (collective tunes), which has been neglected by the classical theory of qu, and its methods of pastiche, in fact provide us with an objective basis that brings us closer to the perspectives of the ancient and helps us analyze the special character of the structure of qupai music. In addition, I discovered that either the rule of gelü or the concept “qugu”or “bone of the song” as transmitted in folk traditions is not analogous to the deep structure of the actual music. This explains the subjective interpretation made by the theorists, as I mentioned above. This discovery, however, led me to rely on the actual musical phenomenon as the basis for my analysis. I argue that the music of qupai cannot do without the ability to vary in order to meet the needs of the tones of its lyrics and also to adapt to the fact that any qupai is not just a tune that stands by itself but is instead often combined with other qupai to form into a larger structure to become the structural elements of a specific composition. Thus, through the process of adapting to various kinds of combination, “variability” became one of the important and basic artistic features of the music of qupai. Thus, I argue that the phenomenon of qupai consists of multi layers: the most essential elements that remain stable, the various transformations, the combination into a specific composition, and finally the actual realization in performance. Even a single qupai also exhibits such a multi-layer phenomenon. If we can explicate the process in which each of these layers unfolds and how the music of qupai has been enriched and reinterpreted through such a multi-layer framework, then it is possible for us to resolve the conflicting views that have long existed in the traditional theory of quxue.