“曲牌”本不分“南”、“北”  

Qu Format:With a Difference of the North Tune and the South Tune?

作　　者：解玉峰[1] 

机构地区：[1]南京大学文学院,南京210093

出　　处：《南京大学学报（哲学．人文科学．社会科学）》2012年第6期99-108,156-157,共10页Journal of Nanjing University(Philosophy,Humanities and Social Sciences)

基　　金：国家社科基金项目<中国韵文与乐关系研究>(05BZW031)

摘　　要："曲牌"有"南"、"北"之分,这似乎是毋需讨论的曲学常识。然而从明中叶以前的许多早期戏曲文献看,"曲牌"不标"南"、"北"的现象非常普遍。由于中国传统歌唱大多是以方言入唱,南、北方言的差异的确导致了曲唱有南、北之别。但作为文体单位的"曲牌",与诗、词一样,当其作为歌辞时,既可用南音歌唱,也可用北音歌唱,"曲牌"本身是无所谓有南、北归属的(正如词牌不分南、北一样)。"曲牌"之分"南"、"北",是周德清、朱权、沈璟等历代曲学家们数百年苦心经营的结果,从理论上来说并无多少意义。It has been taken for granted that the tunes of songs(qu) seem to be divided without any argument into the north tune and the south tune in the scholarly community of qu studies.As proved by the early literature of opera studies before the mid-Ming Dynasty,it was so frequent that the tunes of qu were never marked as the Northern or the Southern,though the accents of Chinese dialects do account for the differences in singing between the two.As a category of literature,texts of qu remain to be themselves without any classification into the Northern or the Southern,whereas,sung in different dialects,differences emerge as connected to the northern or southern accent,just like the case of poetry(of both shi and ci).Having elaborated by generations of such scholars as Zhou Deqing,Zhuan Quan and Shen Jing for a couple of hundred years,qu format came into being,with little theoretical value yet.

关 键 词：曲牌 词牌 南曲 北曲 

分 类 号：I207.309[文学—中国文学]