商管音樂門頭探索(二)一從知見曲目探索明刊本帶〔相思〕門頭曲日
姓名：林珀姬
系所/單位：傳統音樂學系
近年來，出現在南管整絃活動中的三撩拍曲目，比例上比較少，這些少數的三撩拍曲目中，以〔相思引〕是普遍受到絃友喜愛的門頭，還能聽到較多被演唱的曲目。此類門頭在音樂上極真特色一一曲風靈活多變，拍法上的變化，也形成了〔相思引](三撩拍)、〔短相思](一撩拍)、〔相思疊](蠱拍)的長、中、短拍系統。現存曲目中，作品也多，老絃友常說〔相思哥]門頭下的牌名有「八韻調」一一「醉、南、杜、北、交、戀、潮、千」'以及「五韻悲、八駿馬、九連環」等曲韻;不過其中的「北」指的是〔北相思] '一般認為並不屬於〔相思哥] 系統，但為何會出現在「順口溜」中? [北調〕門頭下的牌名，亦有「相思北」之名，其與〔相思哥] 又有何關係?此外知見曲目中，還有〔長相思〕、〔什相思〕之名，也同時可見於《明刊三種》中，這與〔相思可] 之間又有何關係? [長相思〕、〔相思引〕之名，可見於宋詞牌、琴曲、南北曲中，但南管門頭〔相思哥] 與這些傳統的音樂或格律究竟有無關聯?本文嘗試「先今後古」、「以今證古]'從知見曲目進行分析，並與《明刊三種》中的〔相思哥] 曲目進行比對，尋找〔相思哥]曲體結構特徵，以及與〔北相思〕、〔長相思〕、〔什相思〕等之關係。
In recent Nanguan concerts quadruple time (三撩拍; 4/2 meter) repertoire appeared less than others. Among these quadruple time works, the 'SiuN-Si-In (相思引)' Tune-Family is the most popular one. This Tune-Family is characteristic of its various styles and rhythmic patterns, and has formed into a system of long, medium, and short meters (長拍、中拍、短拍): 'SiuN-Si-In'(quadruple time; 4/2), 'Toan-SiuN-Si (短相思)' (duple time; 2/2), and 'SiuN-Si-Tiap (相思疊)' (mono time; 1/2). In survived repertoire, according to old musician, it has 'Eight Subordinate Tunes-Chui, Lam, To, Pak, Kau, Loan, Tiau, ChhuiN (醉、南、杜、北、交、戀、潮、千)', and there are 'Five Un-pi, Eight Chun-Be, Nine Lian-Hoan (五韻悲、八駿馬、九連環)' under this Tune Family. However, the 'Pak' in the above verse means 'Pak-SiuN-Si (北相思)', which is usually not categorized under the 'SiuN-Si-In' system. Why did this subordinate tune appear in that verse? There is another subordinate tune 'SiuN-Si-Pak (相思北)' under the 'Pak-' Tune Family. What is its relation with 'SiuN-Si-In'? In survived repertoire, we can also find 'Tng-SiuN-Si (長相思)' and 'Chap-SiuN-Si (什相思)', which were collected in the ”Three Ming Anthologies” as well. What are their relations with 'SiuN-Si-In'? These titles were also seen in Tune-Poems of Sung Empire, Chin music, and Nan-Bei verses (opera or drama songs of 10th -16th century); are they related with the music or meter of Nanguan's 'SiuN-Si-In' Tune-Family? The author tries to find the evidences by analyzing survived repertoire, comparing them with the 'SiuN-Si-In' Tune Family in the 'Three Ming Anthologies', and searching for their characteristic musical form, as well as their relations with 'Pak-SiuN-Si', 'Tng-SiuN-Si' and 'Chap-SiuN-Si'.