查詢結果分析
來源資料
頁籤選單縮合
題名 | 沈寵綏體兼南北的度曲論=Shen Chong-Sui's Cooperation of the Northern and Southern Opera in the Theory of Duqu |
---|---|
作者 | 李惠綿; | 書刊名 | 臺大中文學報 |
卷期 | 33 2010.12[民99.12] |
頁次 | 頁295-340 |
分類號 | 802.4 |
關鍵詞 | 沈寵綏; 度曲須知; 絃索辨訛; 陰出陽收; 清音濁流; 體兼南北; 戲曲正音; Shen Chong-Sui; Du qu xu zhi; Xian suo bian e; Yin chu yang shou; Qing yin zhuo liu; A genre cooperating the Northern and Southern operas; The standard sounds of traditional Chinese operas; The North succeeds Zhong yuan yin yun and the South follows Hong wu zheng yun; |
語文 | 中文(Chinese) |
中文摘要 | 沈寵綏(?-1645)《絃索辨訛》以《中原音韻》作爲詳註北曲音讀的圭臬。南曲以盛行於吳中地區的崑山腔爲正聲,本當以吳語爲戲曲唱念之依準,然沈寵綏不僅排除吳語土音,也排除崑山腔認定的語音而爲吳語所無者,重新建構其「戲曲正音」。於是南北曲唱念有宗中原音系者,亦有遵吳語音系者,本文謂之「體兼南北」。 沈寵綏《度曲須知》提出「三字切法」,上一字即字頭,中一字即字腹,下一字即字尾。辨認字頭者,有「穿牙縮舌(捲舌)、陰出陽收」;辨認字腹(介音和主要元音)者,有「合口撮唇、開口張唇」等;辨認字尾者,有「閉口、鼻音、舐舌」。唱南北曲時,除「魚韻收于、模韻收嗚」和「陰出陽收」遵吳語音系,其餘皆宗中原音系。沈寵綏以「三字切法」建構體兼南北的度曲論。 吳語雖是崑腔的語音基礎,卻沒有完全成爲崑山腔的正音,這個研究成果出乎意料之外。吳語方言的特點是韻尾極少,這是吳語不能完全成爲崑山腔正音的根本原因。相對於《中原音韻》,既有元音韻尾〔-i,-u〕,又有三種鼻音韻尾〔-n,-ŋ,-m〕,既符合「一字三切」,又適用於字頭啓口輕圓、字腹過氣接脈、字尾收音纯细的崑山水磨調,這是「體兼南北」必然形成的根本原因。沈寵綏以「正吳中之訛,宗《中原》之音」爲論述基礎,其目標乃是建構屬於南北曲的「戲曲正音」。 |
英文摘要 | Shen Chong-Sui (?-1645) regarded the two books Xian suo bian e (絃索辨訛) and Zhong yuan yin yun (中原音韻) as the most important references for explaining the pronunciations of the Northern qu. The Southern qu should have been based on the Wu language since it takes the Kunshan (崑山) accent of the Wuzhong (吳中) area as its standard language. However, Shen excluded from the standard sounds the patois in the Wu language and the sounds of the Kunshan accent not existing in the Wu language. He thus reconfigured the ”standard sounds of traditional Chinese opera” (Xi qu zheng yin〔戲曲正音〕). Consequently, some Northern and Southern Chinese operas adhere to the sounds from Zhong yuan yin yun while the others to the system of the Wu language. In this paper, this phenomenon is called ”a genre cooperating the Northern and Southern operas” (ti jian nan bei〔體兼南北〕). Shen Chong-Sui's Du qu xu zbi (度曲須知) brings up ”the method of separating a syllable into three characters” (san zi qie fa〔三字切法〕). The first character is the ”head” (zi tou 〔字頭〕), the middle one the ”belly” (zi fu 〔字腹〕), and the last one the ”bottom” (zi wei 〔字尾〕). When identified as a ”head,” a character is signified as chuan ye sun she (穿牙縮舌 retroflex). The ”belly” indicates the main vowel (yuanyin元音) and middle vowel (jieyin介音), such as the sounds of cuo kou (撮口) and kai kou (開口). The ”bottom” is characterized as a sound of bi kou (閉口), a tongue, or a nasal. Most of the Northern and Southern operas follow the sound system of Zhong yuan yin yun except for the two pronunciations ”rhyme Yu shou yu and rhyme Mo shou ming” (魚韻收于, 模韻收嗚) and ”yin chu yang shou” (陰出陽收). Shen applies san zi qie fa to his theory of duqu (theory of songwriting). Although the Wu language is the basic of sounds in Kunshan accent, greatly unexpectedly, it has not completely become the standard sounds in Kunshan accent. The Wu language has fewer rhymes than the Kunshan accent, which makes the language incapable of being Kunshan accent's standard sounds. In comparison to Zhong yuan yin yun, Shen's san zi qie fa not only includes the vowel rhymes, such as -i and -u, but also contains the three types of nasal rhymes, -n,-ŋ, and -m. San zi qie fa's cooperation of vowel and nasal rhymes also makes it possible to distinguish the characteristics of Kunshan accent inasmuch as the collaboration smoothes the process of pronunciation -a round opening connected by a belly, with a slight and fine bottom. This is the reason why it turns out to be a genre cooperating in the Northern and Southern operas. Shen's ”correcting the errors of the Wu language and modeling the sounds of Zhong yuan yin yun” is to construct a system of standard sounds exclusively for the Northern and Southern operas. |
本系統之摘要資訊系依該期刊論文摘要之資訊為主。