昆曲曲笛研究

【作者】 王玮；

【导师】 秦序；

【作者基本信息】 南京艺术学院 ， 音乐学， 2012， 博士

【摘要】 昆曲是一种歌舞艺术，唱腔音乐是昆曲的核心和灵魂。当今诸多学者也试图从唱腔音乐的研究中窥探昆曲音乐乃至昆曲艺术的奥秘及其规律。然而，在昆曲发展过程中形成了一个重要现象，即昆曲伴奏尤其是主奏乐器竹笛对昆曲的发展变化起着至关重要的作用，这是由于昆曲的独特表演体系和唱腔所决定的。昆笛演奏亦称“压笛”、“司笛”，几乎所有演员唱腔都要与曲笛旋律相应和，这在实践中形成了曲笛引领，演员随腔的现象。在人们的常态思维中，竹笛从图像学的意义上来看只是一个在器乐合奏、独奏或戏曲中运用的简单器物，具有伴奏和独奏功能，从戏曲音乐上来看它是乐队配器元素之一，对它的研究往往停留在这些层面上。然而我们发现，竹笛不仅源远流长，（可追溯到9000年前的贾湖骨笛），而且它的形成和发展对中国传统音乐的调式调性以及乐律理论的完善等具有十分重要的作用和意义。笛属乐器本身的特质在某种程度上也对中国几千年的单声音乐思维和音乐文化具有深远影响。笔者在研究竹笛演变与发展基础上，通过深入剖析戏曲音乐发展历史和前人研究成果，发现：竹笛与戏曲尤其是昆曲之间有着复杂而又深刻的关系，也可以说竹笛对于昆曲的发展具有重要的意义，在昆曲中具有其他乐器所不能比拟的独特地位和作用。从宋元盛行的说唱艺术形式唱赚、诸宫调到戏曲的成熟形式宋元杂剧、南戏，无一例外都是以笛作为主要伴奏乐器之一。即便元杂剧由于时代变迁而在明代中期遽然消亡，发端于浙江永嘉的南曲声腔在入明以后演变成四大声腔以及其他地域声腔过程中，昆山腔经魏良辅等人的改革形成昆曲的同时，弋阳腔系统也在全国范围生根发芽，形成昆弋争胜一时的局面。从一代之绝艺昆曲盛行全国到经历花雅之争，昆曲折子戏的变革，直到近代昆曲的衰落的整个历程，都处处闪现着竹笛的身影。并且，笛的形制、律制、演奏（包括在乐队、在剧种、音乐声腔表现中）也在与戏曲同步或不同步的发生着演变，这在昆曲中体现得尤为明显。归纳起来，曲笛在昆曲中的功能主要体现在：帮助演员练习唱腔(“拍曲”、“吊嗓”)，把握唱腔风格、咬字、气息、韵味和节奏处理等；带领乐队完成昆曲表演时音乐和唱腔的伴奏任务。也就是说曲笛吹奏主旋律不仅起到拖腔保调的功能而且也是演员唱腔的标尺、其他伴奏乐器的指挥和引领。自清代中叶花雅之争以来，我们普遍认为由于板腔体戏曲的产生，丰富了戏曲的节奏板式，加强了戏曲音乐的戏剧性，才促使人们将目光转向花部乱弹。雅部昆曲就此衰落，成为“车前子”艺术。实际上，事物并非非此即彼，花部兴盛雅部并不见得立即衰落。即便如此，深究其背后原因，也发现花部戏曲对伴奏乐器的重新选择与雅部昆曲对于竹笛等乐器的固守，深刻的影响着二者的发展命运。19世纪末期至20世纪，昆曲衰落已成不争的事实，尤其是1949年以来，虽然一出《十五贯》救活了一个剧种，使得昆曲这个古老剧种得以喘息，如今乘着非物质文化遗产保护的东风，我们似乎在新编传统昆曲剧目火爆上演的烟幕下认为昆曲开始“中兴”。其实不然，当代昆曲的发展，在表面繁荣的同时危机更加严重。深入研究，可以发现，二十世纪以来发生在昆曲艺术身上除了演员后继乏力、演出环境时变景迁、传统演唱格律无人遵循、观众流失等等原因，还有一个事件应引起足够重视，那就是昆曲的主奏乐器——竹笛在律制、形制上发生了重大变化，传统的均孔笛变成了十二平均律笛。在一支笛上自由翻吹七调的传统技法渐渐失传并且随着老一代演奏家的离去不复存在。这是昆曲最为本质的变化，这些变化首先影响到昆曲乐队体制，并由此影响到昆曲唱腔，最终导致昆曲的停滞不前，甚至走向衰亡。综上，本选题以昆曲曲笛为研究对象，着重探讨曲笛的发展演变轨迹、律制变化及其在不同时期的形制变革，梳理昆曲曲笛与昆曲唱腔、其他伴奏乐器、江南音乐文化之关系，通过曲笛介入昆曲的历史背景与原因、曲笛的音乐学考察、清代以至民国曲笛班社与师承体系，以及非物质文化遗产保护视野中的对策及意义等诸多研究板块，力图从中窥视到昆曲音乐变与不变的内在规律及原因，完整、准确、系统地把竹笛和昆曲音乐文化以及江南地区音乐文化整个之间的关系，完整地解析和复原出来。为当前在发展昆曲道路上遇到的“保持原样”与“创新”问题，以及保存的是否还是“原样”等问题提出建议，为音乐类非物质文化遗产的昆曲艺术保护提供可资借鉴的理论支持。更多还原

【Abstract】 Vocal music, the core of Kunqu Opera, is the basis of many academic works that aim toexplore the laws hiding the beauty and mysteries of the ancient art form comprising songs anddances. One of the most looked-into phenomena is the fact that the namely Kunquaccompaniment, especially the instruments in the accompaniment, play an important role inthe evolution of Kunqu Opera. As an inevitable result of the unique performance system andvocal laws, Kundi, a melody instrument, has become the leading instrument in Kunqu Opera.Recitals of Kundi is also referred to as “yadi”(to master the flute) or “sidi”(to manage theflute). As the leading instrument, the melodies produced by Kundi are found to be leadingalmost all singings in Kunqu Opera, which leads to “suiqiang”(that a Kunqun Opera singerhas to adjust the singing according to the accompanying music produced by Kundi).In the scope of visual iconology, bamboo flute is in itself no more than any instruments in thedepartment of music-it can be seen in ensembles and solos, considered as one of theaccompanying elements in traditional operas. However, apart from its long history (the boneflute of Jiahu is seen as the primitive form of bamboo flutes), the formation and evolution ofbamboo flutes have a critical influence on the study of tonality and temperament of traditionalChinese music. The characteristics of flutes also play a role in the formation of the singleacoustic rule and culture of Chinese music.The following conclusions are made based on studies looking into the evolution of bambooflutes as well as the history of traditional Chinese music: Bamboo flutes play a complex, yetimportant role in Chinese Opera in that no other instrument can match the influence ofbamboo flute.Bamboo flute has been the major accompaniment in art forms from the popularChangzhuan(唱赚）and Zhugong(诸宫调） to the mature Zaju(杂剧) and Nanxi(南戏) of theSong and Yuan Dynasty. Even after the degeneration of the Yuan opera in the middle of theMing Dynasty, where Nanqu(南曲), originated from Yongjia, Zhejiang Province, developeditself to Kunqu Opera with the devotions of artists such as Wei Liangfu and competed with thenation-widely popular Yiyang(弋阳腔), Kundi was closely connected to the evolution ofKunqu Opera. It can be observed that no matter how the arts change in time, Kundi neverstopped getting involved. Moreover, the evolution of Kunqu Opera was alwaysaccompanied-maybe not simultaneously-with the evolution of Kundi.The two major functions of Kundi in Kunqu Opera are as followed: assisting the practice ofsinging(traditionally referred to as Paiqu and Diaosang) in order to understand the rhythm, lyrics, breathing and tempos of the music and leading the accompaniments. Kundi is at thesame time the benchmark of the vocal music and the conductor of the accompaniments.Since the arguments concerning the dominance of Hua and Ya(花雅之争）in the Qing Dynasty,it is generally believed that emphasis on the freestyle performance in Huabu(花部乱弹）is dueto the advent of the Banqiang(板腔）operas that has prospered the tempo rules and thedramatic factors in traditional Chinese opera. However, the prosperity of Huabu doe notnecessarily mean the degeneration of Yabu(雅部). Even if it does, the cause hidden behindwould be Yabu’s insistence on choosing bamboo flute as the leading instrument. Although therenowned opera Shi Wu Guan(十五贯).aroused some appreciation of Kunqu Opera, it isarguably that Kunqu Opera has faced its recession since the end of the19th century. Many hasargued that Kunqu Opera is rising again due to the “fashionable” protections of WorldNon-materials Cultural Heritage. The fact is that the crisis of Kunqu Opera is more seriousthan ever before: the lack of influential actors in the younger generation, the out-of-tune stagesettings, the violations of traditional vocal regulations, the loss of audiences and mostimportantly, the significant changes in bamboo flute. These changes can be observed in bothforms and connotations-the traditional flute with seven holes(three of which are unchangeablein tunes) has been transformed into flute that follow equal temperaments. This means that thetraditional skills of making seven tunes on one flute will gradually fade away with the oldergeneration of musicians, causing the ceasing, or even worse, the death of Kunqu Opera.To summarize, focusing on the study of Kundi, this book discussed the development andchanges of Kundi in different time in order to identify the relationship between Kundi, vocalrules and other music instruments involved in Kunqu Opera. It is this book’s aim tounderstand the universal rules hidden behind the changeables and unchangeables of KunquOpera and analyze the culture of Kunqu, along with the traditional music in the south of theYangtze River. This book also seeks to offer resolutions to problems concerning whether ornot to preserve the originality of in protecting non-material cultural heritages such as KunquOpera.更多还原