明清南曲谱收录、辨改明人散曲情况分析——兼论曲谱编纂者的意图与心态

A Study on the Situation and Problems of Ming-Dynasty Sanqu in Ming and Qing Southern Tune Anothologies-With Special Attention Brought to Composers’Intention and Mindset

明清时期的南曲谱中收录不少明人散曲,其对曲家曲作收录的多少与明散曲的兴衰、曲家的地位影响、曲谱的收录标准、对前人曲谱的延承以及曲家与谱主的亲疏等有着疏密不同的关系。南曲谱对收录的散曲辨明宫调、曲牌,改换曲牌的归属与牌名,达到了纠正错误、规范创作的目的。由于收录的部分曲作尚属草创或受编纂者崇元情结影响,一些辨改出现了偏误。南曲谱收录明人散曲的情况与对宫调、曲牌的辨改彰显了曲谱编纂者的崇古心态、创新意识、纠误目的,以及借此寄寓情怀、提携后学、弘扬区域文化的心理动机。

Numerous Ming sanqu may be found in Ming and Qing southern tune manuals.Among them,the number of sanqu composed in different historical periods is significant and thus points to different links with the rise and fall of sanqu in the Ming dynasty.The collection standards of anthologies,the inheritance of previous anthologies,the influence of sanqu composers'social status,and the affinity and estrangement with the authors of anthologies do all play significant roles in this context.Sanqu anthologies made a clear distinction between the modes of ancient music and the names of the tunes to which qu are composed,changed the origins of these names,and then corrected mistakes and standardised musical creation.However,due to the fact that some of the works are still original or influenced by the compilers'own emotional loyalty to the Yuan dynasty,some mistakes have been made in identifying and modifying certain qu.The recording of sanqu in anthologies and the practice of identifying and modifying of the modes of ancient music and of the tunes'names reveals a nostalgic mindset coupled with innovative consciousness,and the aim of correcting compilers'mistakes.This practice further illustrates a psychological motivation to express feelings,promote learning and regional culture.