從音韻學角度考察北曲度曲論的形成-論周德清歌其字音必其字的度曲論 = Prosody and the Formation of the Theory of Duqu in Northern Sanqu and Zaju--A Discussion on Deqing Zhou's Theory of "Singing the Words Must be Sounding the Words"

Abstract

The theory of Suqu as broadly defined includes the theory of prosodic rule and the theory of performance. The playwright composes by the sounds in order to make the performers chant smoothly and thereby meet the aesthetic demands of sounding effect. Hence, the meaning and purpose of composing and examining Chinese traditional opera by prosodic rule is not only to pursue the precision of prosody of language in literature, but also to accomplish the harmony of melody in performance. 'Prosody' then is the common elementb between the precise language prosody and the harmonious melody. It is also the merging of the theories of prosodic rule and performance. The close relation between prosody and Duqu is derived from the characteristic of the tones of Chinese language. From the view of prosody in Chinese traditional opera to select related to explore the close relation between composing by sound and smooth singing. The principal content in Zhou Deqing's prosody in northern sanqu and zaju is that 'sounds are separated into ping and zhe,' and 'language is parted into yin and yang.' 'Sound'and 'language' are synonymous and both mean tones of sounds or tones of language. The objective to place the knowledge of prosody in the creative theiry of traditional Chinese opera is to provide composers with creative works, to achieve the unity of 'embellishment of language and the perfection of prosodic rules.' The resulting effect is the fulfillment of the esthetic principle: 'singing the words must be sounding the words.' This essay argues that the incorporation of prosody into the formation of the theory of Duqu in northern sanqu and zaju was initiated Zhou Deqing. Furthermore Zhou had also produced some fine sholarly work on the fusion of the prosody in northern sanqu and zaju and Chinese traditional opera.

廣義的度曲論包括音律論與演唱論。劇作家倚聲填詞要讓演唱者達到順口可歌，以符合聽覺訴求。因此以音韻格律譜曲繩曲之目的與意義，不止在講求文學上文字音律之精準，也是為了達到演唱上音樂旋律之和諧；而?音韻學?即是二者之間共同元素，成為音律論和演唱論的交集。音韻與度曲所以產生緊密的關係，是由於漢語聲調之特質。本文以周德清《中原音韻》為主，從戲曲音韻的角度揀選相關材料，探討劇作家倚聲填詞與歌者順口可歌的緊密關係。 周德清北曲音韻學的主要內涵是?聲分平仄?與?字別陰陽?，?聲?與?字?同義，皆指聲調或字調。音韻學知識放置在戲曲創作論，主要宗旨是要提供曲家創作?文律兼美?之作；但隨之成就者就是?歌其字音必其字?的美學訴求。本文從音韻學角度考察周德清?歌其字音必其字?的度曲論，從而證明音韻學界入北曲度曲論形成於周德清，並為北曲音韻學與戲曲學之融合提出若干研究成果。