论明清曲谱体量剧增的主流及文化成因

Resarch on the Rapid Increase of Book Thicknessof Qupu in Ming and Qing Dynasties

由曲谱的厚度观,南曲后期曲谱已是初期曲谱的12倍,北曲后期曲谱则为初期曲谱的15倍。由曲谱所收曲牌名目的数量观,南北曲谱均有明显增长,特别是南曲曲谱,已扩增为原来的3倍。曲谱体量的主要增长点,在犯调、变体的收录,以及对某些宫调的有意充实。南曲后期曲谱较前期而言,犯调数量翻了约有10倍,变体翻了12倍多,"冷门宫调"的辖曲足足增长了10多倍。探究曲谱体量剧增的文化成因,除了"增修"的惯性思维外,"彰显"与"备留"的使命促使其收录了很多装饰、渲染、失效、驳杂的内容,曲谱的录曲越来越失去底限。

Qupu in the later stage is 12 to 15 times of that in the early stage in terms of book thickness. Judged from the quantity of the Qupai names collected,we can also seea significant increase,especially in Qupu of Nanqu,which has been expanded three times as much as the original. The growthis mainly reflected in the collection of the Fandiaomelody and itsvariant,as well as the intentional enrichment of some specificGongdiao. Compared with the former and later Qupu of Nanqu,the number of Fandiaomelody has increased by about 10 times,the variety has increased by12 times,and the melody in some specificGongdiao have increased by more than 10 times. To investigate the causes of the dramatic increase in the volume of Qupu from a cultural perspective,we can see that in addition to the inertial thinking of " updating",the mission of " highlighting" and " keeping" lead to a lot of decoration,rendering,invalidation and other miscellaneous contents. The recording ofQupu is gradually losing its bottom line.