戏曲曲牌校注分段问题考释与辨讹

Interpretation and Identification of Sections and Annotation of Qupai in Chinese Opera

古曲戏文,因为不分句读,往往牵连而下,又因为曲牌牵涉文意、字声、平仄、阴阳、腔格等音乐与文学问题,故曲牌分段以"前腔""前腔换头""集曲名""总题名""联套"等最容易出现问题。近代以来,以吴梅《南北词简谱》的曲牌校注,即意图通过词乐因应,发挥腔词关系的极大张力,对曲牌校注提出了更高要求。就目前而言,曲谱文献以及戏曲文本的整理,曲牌分段问题仍是首要解决的问题。文章以现今最为常见的曲牌分段讹误入手,举例分析曲牌校注在分段问题中需要注意的问题。此问题若得厘订,可为曲牌及戏文校注提供帮助,亦可对曲牌格律、近代曲学发展方向有深入了解。

Chinese opera is not divided by sentence and people often get confused by connotations,sounds,tones and tunes of Qupai,as a result,we may make mistakes in telling sections of Qupai(including Qianqiang,Qianqiang Huantou,Jiquming,Zongtiming,Liantao,etc.).Wu Mei made an effort to annotate Nan Bei Ci Jian Pu so as to coordinate tunes and verses,which presents a great challenge for the annotation of Qupai.Up till now,researches on Chinese opera focus on the section of Qupai.The paper analyzes misleading methods to fragment Qupai,and lists annotation problems worth noticing when dividing Qupai into sections.If such problems can be addressed,annotation of Qupai and Chinese operas can be improved and we can research further on the rules and forms of Qupai and the development trend of modern Chinese opera.