明清崑腔音韻度曲的發展脈絡 = The Development of Kunshan Accents of Duqu Phonology in the Ming and Qing Dynasties
Journal
戲曲學報
Journal Issue
24
Pages
1-62
Date Issued
2021
Author(s)
李惠綿
Abstract
Applying phonology to Duqu study originated from the Yuan dynasty and continued in the Qing dynasty. The main topic of the qu study or qu commentaries in the Ming and Qing focused on the Kunshan accents in the Southern drama. Centering on the Kunshan accents of Duqu, the article explores how the Ming and Qing qu scholars interpreted the theory of composition and the theory of singing in terms of phonology, depicting the development of Kunshan accents of Duqu phonology in the Ming and Qing dynasties. Based on the development of the theory of singing, Wei Liangfu's (ab. 1526- 1586) Nanci yinzheng outlines the theory of Kunshan accents of Duqu in terms of the format of quhua by citing phonological knowledge so that it became a fundamental work of Duqu study. Shen Chongsui's (?-1645) Duqu xuzhi as a monograph presents a rich qu system. These two works respectively demonstrate the markers of the beginning and zenith of Kunshan accents reform. Based on the development of the theory of qu composition, Wang Jide's (ab. 1560-1623) Qulu fully applies phonology into the construction of prosody in the Southern drama. Wang's work was considered the center of the qu composition study as Shen Jing's (1553-1610) Nanci yunxuan and Zengding nanjiugong qupu pioneered in setting rules of commentaries and qupu. Following Wang's work, Feng Menglong's (1574-1646) Taixia xinzou commentates the Southern sanqu, reinterpretating qu prosody through the ways of ＂harmonious tones and strict rhymes.＂ Developing in continuous line, the theory of qu composition put stress on the accuracy of prosody and the harmony of singing. This assures itself that phonology is the core joint of prosody and singing. The development of drama phonology in the Ming showed its complexity under the contexts of developing qu composition and qu singing. Taking Wang's Qulu and Shen Congsui's Duqu xuzhi as representative works at the apex of evolving Kunshan accents of Duqu phonology, the Ming drama phonology was completely discoursed and involved large-scale discussions. In the Qing, Li Yu's (1611-1680) Xianqing ouji, with theories of creation and singing and continuing the previous qu study, stresses more on how qu composition impacted on the sensibilities of sounds. Later on, Kunshan accents of Duqu phonology was expanded starting from the theory of singing to other fields. For example, Mao Xianshu's (1620-1688) Nanqu rusheng kewen principally theorizes in the singing methods of checked tones of the Southern drama. Xu Dachun's (1693-1771) Yuefu chuansheng emphasizes the vocal theory, particularly regarding sound transmission and oral methods, and the ways of singing Kunshan accents in the Northern drama. It thus shows that Duqu study was increasingly theorized and abstracted. Huang Fanchuo's (1819-1829) Liyuanyuan underlines the theory of performing arts, which confirms that the qu scholars in the Qing explored the unmentioned fields from earlier qu study, making a record of achievement in constructing the theories of singing for Kunqu.
Subjects
崑腔
音韻
度曲
作曲論
演唱論
Type
journal article