五音四声与南北曲变迁

Five Musical Tones,Four Phonetic Tones,and the Changes in Southern and Northern Drama Music

自汉语四声发现以来,不断有音韵学家和乐人尝试在音乐五音和汉语四声之间建立一种对应关系。但语言学中的声调要对应音乐学上的音阶,只有两个或两个以上音符才能描述一个声调,用单一音符描述声调注定是行不通的。明初朱权《太和正音谱》首次在北曲中旁附四声,为文人提供了一种创作范式。但即便朱权本人作品也不能严格遵守这一规定。而受这一理论启发,魏良辅、沈璟等人则利用昆山腔一字数拍的特点,在南曲中建立了一种五音四声的对应关系,由此引发了晚明戏曲史上的汤沈之争。

Since the discovery of the four tones in Chinese pronunciation,phonologists and musicians continue to try to establish a positive correlation between the five musical tones and the four phonetic tones.However,one phonetic tone corresponds to two or more musical tones,and it is not feasible to construct one phonetic tone with one single musical note.In the early Ming dynasty,Zhu Quan’s Taihe Standard Pronunciation Manual(Taihe Zhengyin Pu太和正音谱)constitutes a first instance in which northern drama music was accompanied by a four-tone phonetic annotation,which provided the literati with a creative paradigm.But even Zhu Quan was unable to faithfully abide by this guideline in his work.Inspired by this theory,Wei Liangfu,Shen Jing,and others made full use of the characteristics of several beats contained within one character in Kun opera and established the corresponding relationship between the five musical tones and the four phonetic tones in southern drama music.In the late Ming dynasty,this led to the dispute between Tang and Shen on the historiography of traditional opera.