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    Please use this identifier to cite or link to this item: http://ir.lib.ncu.edu.tw/handle/987654321/46388


    Title: 集曲研究──以萬曆至康熙年間曲譜的集曲為論述範疇;The reasearching of Jinqu──Between Wanli to Kangxi spectrums jinqu collection
    Authors: 黃思超;Szu-chao Huang
    Contributors: 中國文學研究所
    Keywords: 集曲;曲牌;格律;本調;排場;格律譜;曲譜;Scene arrangements;Qupai forms;Jinqu;Spectrum
    Date: 2011-01-21
    Issue Date: 2011-06-04 15:11:30 (UTC+8)
    Publisher: 國立中央大學
    Abstract: 本文研究萬曆至康熙年間,編纂的九種曲譜:《舊編南九宮譜》、《增定南九宮曲譜》、《墨憨齋詞譜》、《南詞新譜》、《南曲九宮正始》、《寒山曲譜》與《詞格備考》、《新訂十二律崑腔譜》、《欽定曲譜》與《南詞定律》,各譜集曲的收錄與考訂,及其背後反映的曲學觀。在論述曲譜集曲以前,本文第一章論述集曲的相關問題,包含集曲的溯源、傳奇作者在創作時選用集曲的功能性考量,並對歷來對集曲組合條件之說法提出檢討,認為集曲之組合,考量的要點有三:一、本調之聯套關係;二、本調板位的保留與銜接的流暢;三、前後曲結音的一致。 本文第二到四章論述萬曆至康熙年間成書的九種曲譜,其集曲的收錄與考訂。本文認為,各譜最大的差異,就在於集曲收錄的不同,以及考訂方法與結果的差異,也因此,釐清這些問題,不僅是探討不同曲譜編纂者曲學觀,也是觀察不同年代,曲牌創作風氣與現象的種要切入點。本文分析各譜觀點與集曲收錄的差異,將萬曆至康熙年間曲譜的集曲編纂,分為三種收錄取向:一、只要不悖曲律者,時曲均收;二、以舊本南戲為主,追求曲牌早期原貌的收錄觀點;三、追求創作時用,以「常用集曲」為收錄觀點。三種收錄取向的差異,產生了各譜收曲與考訂的不同。 另外,集曲的考訂方法,本文提出「因詞定牌」及「因曲定牌」,從目前可見的考訂方法判斷,「因詞定牌」主要是透過文詞、板位的比對,以考訂集曲的本調,這種考訂方法,重要的目的在於訂正曲唱的錯誤;「因曲定牌」則是將集曲本身的腔句,與本調做比較,以音樂旋律的近似作為考訂依據,而不具有訂正集曲演唱的功能。 本文試圖透過大量集曲材料的整理分析,論述曲譜中集曲收錄的種種問題,並以實例檢視歷來各家所提出的集曲諸說,以期對集曲有更全面的認識。 This thesis, research Wanli to Kangxi, the compilation of nine spectrum: the "Jiu bian nan jiu gong pu "《舊編南九宮譜》, " Zeng ding nan jiu gong qu pu "《增定南九宮曲譜》, " Mo han zhai ci pu"《墨憨齋詞譜》,"Nan ci xin pu "《南詞新譜》, "Nanqu Jiugong Zhengshi"《南曲九宮正始》,"Han shan qu pu " and "Ci ge bei kao "《寒山曲譜》與《詞格備考》, " Xin ding shi er lyu kun qiang pu "《新訂十二律崑腔譜》, " Qin ding qu pu "《欽定曲譜》and " Nan ci ding lyu "《南詞定律》, the spectral set your jinqu(集曲) and textual research,and the concept behind all of these. First chapter discusses issues related Jinqu set, inclyuding the set of Jinqu’s source, why the legendary chose to use jinqu in the creation of functional considerations, and the music mix has always set the conditions for the claim that the review that Set the combination of music, considering there are three main points: 1.), the tone of the relationship between joint sets; 2.) bits of the palette and the convergence of flyuid retention;3.)before and after the song sound the same junction. The second to the four chapters discuss these ninespectrum, scores, and their set. This thesis argues that the biggest difference between all of these spectrums is the set of jinqu, as well as differences in textual research methods and results, and therefore, to clarify these issues, not only of scores compiled by different view of jinqu, but also observed in different years, creating tunes and the phenomenon of species to be an entry point. This analysis of the spectrum of views and set song contains the variances and the Wanli to Kangxi jinqu compilation, divided into three contains approaches: one, if not incompatible with qu lyu(曲律), the jinqu were all received; Second, the old the Nan xi(南戲), the pursuit of the early qu pai; Third, when the pursuit of creative use of the jinqu. Contains three different orientations, resulting in a collection of the spectrum of different music and textual research. In addition, the set of jinqu textual research methods, this paper "according to the word"or " according to the music", from the current visible textual research methods, with " according to the word, " mainly through the text word, board-bit compared to Textual set the tone song, this textual research methods, an important aim of the revised song sung by mistake; " according to the music" sucked set their own chamber music sentence, and the transfer is made to approximate as a melodic Textual basis, instead of singing songs with a revised set of features. This thesis tries to organize jinqu materials, the music scores inclyuded in the set of the problems, and each instance of view has always made music all that set to music on the set of a more comprehensive understanding.
    Appears in Collections:[中國文學研究所] 博碩士論文

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