南管樂語、腔調及其體製之探討

Abstract

本文以南管樂語、腔調和音樂體製之建構為主要論述重點。第一章統整與音樂最緊要相關的五個樂語，先回顧相關論述，再逐一考察其名與實。第二章針對南管使用的語言和文字，分析語言與音樂的互動關係，〈南管的腔調〉一節，著重在泉腔內在構成的因素；「南管的載體」一節，則試在前人研究基礎上，檢討各載體的音樂結構。第三章結合文學和音樂的角度，說明南管音樂發展的程度，並提出南管音樂的縱向體製與橫向體製。檢閱南管相關之研究，兼顧音樂體製、語言腔調、文學格律的系統研究較為少見，本文嘗試綜合性的探討，以印證南管於中國歌樂長河中，對歷代韻文學的承繼與開展。

This thesis constitutes an academic area where the phraseology, the intonation and the musical systematic framework of Nan-guan are established. Chapter one focuses on the five most important and relevant phraseologies. By reviewing all related studies and articles, the realities and the corresponding nominal terms are verified and clarified. Chapter two analyses the interactive relation between the language and the music given the language and characters used in Nan-guan. The section of “the intonation of Nan-guan” concentrates on key components of Quan dialect, while the section of “the carrier of Nan-guan” reviews and criticizes several Nan-gun’s musical structures constructed by previous scholars.Chapter three illustrates how comprehensive Nan-guan has been developed in perspectives both of literature and music. Moreover, this chapter summarizes and proposes a vertical and horizontal systematic framework, fueling the academic area with one piece of rare supplementary which simultaneously involves musical structure, intonation and rhyme of literature.This thesis literally proves the historical position of Nan-guan which inherits and enriches the capital of the rhymes in the long river of Chinese music history.