“犯调”与“集曲”辩正  

Correction of Fandiao and Jiqu

作　　者：仝鑫 施德玉 Tong Xin;Shi Deyu

机构地区：[1]安徽淮北师范大学音乐学院,安徽淮北235000 [2]台湾艺术大学,中国台湾新北220307

出　　处：《北方音乐》2024年第1期36-44,共9页Journal of the Northern Music

摘　　要：“犯调”与“集曲”在学界是常被混淆的名称。犯调在传统乐学中是关于宫调关系的术语。其广义的意涵是指调性或调式的变换,就原曲调性与调式而言,有被“侵犯”之意;而“集曲”是指采用若干支曲牌,各摘取其中的若干乐句,重新组成一支有首有尾的新曲牌,对原曲牌而言,也有被“侵犯”之意。因此,“犯调”与“集曲”便产生有相同意义之现象,因而,历来引发许多的讨论与争议。文章分析了“犯调”的多重意义,即包含词乐之“犯调”、也论述“犯调”的形式与内容;文章也探讨“集曲”的形式与结构,其所包含曲牌片段组合之形式、曲牌片段之衔接。文章继而再将“犯调”与“集曲”进行比较,论述了“犯调”与“集曲”之异同。Fandiao and Jiqu are confused in the academic area frequently. Fandiao is a term of the relationship of Gone-mode in the traditional music research, broadly connotated the change of tonality or modality, so Fan means violating the original tune in the two aspects. While Jiqu means excerpting phrases from different Qupai to reforge a new Qupai music which to be coherent, so for the originals can be seen as infringed. Therefore, the phenomenon of Fandiao and Jiqu have the similar meaning, which has been the cause of many discussions and controversies. The article not only analyzes the connotative meanings of Fandiao, i. e, the Fandiao of which include lyric, and the form and content of it, but also discuss the form and structure of Jiqu, i. e, the combination method and articulation technique of the verses it used, so as to compare the Fandiao and Jiqu, then conclude their differences and similarities.

关 键 词：犯调 集曲 曲牌体 期待视野(expectation-horizon) 辩正 

分 类 号：J612.1[艺术—音乐]