南管音樂門頭中的〔北調)或稱[錦板)，老樂人之間，也存在另一種說法[北調]就是【百調卜此二詞彙泉腔音近;稱為(北調)，可能意指此類門頭中的曲日，來自北方的曲調，舉世聞名的漢學家龍彼得教授就持此論調。稱為〔百調)，意則指此類門頭中的曲目，由韻變化多端，各有特色。而從手抄本中可發現【北調】曲目真是一個龐大的門頭系統，許多流行的名曲都是隸屬於[北調)，如(凹朝元﹒遠望鄉里〉、(四朝元﹒打疊行李)、〈聽見杜鵑卜〈冬天寒〉、(一路安然〉、〈相思北﹒輾轉亂方寸〉、(愁人怨〉、(特來報喜)、(鼓返五更)、(心內懶悶〉、(四朝元﹒形影相隨)、〈白雲飄渺〉、(千叮萬囑〉、(大展雙眉)、(風濃北﹒心中悲怨)、(點點催更)、(因趕白兔〉、(汝聽咱〉、(金錢北﹒赤壁上〉〈皂雲北﹒迫勒阮身>...等等，眾多常被演唱的[北調]曲日，說明了南管樂人對此類門頭的喜愛;而[北調]門頭下眾多不同的牌名，則是曲韻變化的因素之一。筆者在學習過程中，發現了南管音樂中，帶有[北]字門頭，如[北調卜【二調北]、[寡北]、[金錢北)、[北青陽)，以及未帶有[北]字的[柳搖金)等，其管門不論是四空管、五空管、五六四伏管，均以「不女尾」收尾;另外如[北相思]、[北地錦)、[駐雲飛]、[野風餐)等等，這些門頭的曲目，雖不用「不女尾」收尾，也存在某些類似的曲韻，足以說明它們之間，應有些關連性存在?值得一探究竟。從龍彼得輯錄之《明刊閩南戲曲弦管選本三種»(以下簡稱《明刊三種»，大約是明萬曆年間，17世紀初期的刊本) ，與其論文《明刊戲曲弦管選集»，其中帶有(北)字門頭曲目，根據龍彼得的研究，尚有18首見於現今曲簿中，但只有8首與現在的[北調)或稱[錦板)相同，部分曲目門頭分別屬於[北青陽]、[柳搖金)、[三腳潮]......等等門頭，對其中的轉變，龍彼得有些懷疑，但筆者肯定其中確實存在著一些微妙的關係。因此，本文擬從《明刊三種》開始，透過《袖珍道光指譜»(1846)與《文煥堂指譜»(1857)'以及台 灣手抄本等比對、分析，並從實際的唱奏中，試圖找出其中之關連。

The Pak-Tiau (北調) Tune-Family (門頭) of Nanguan music， also named Kin-Pan (錦 板)，are known as Pa-Tiau (百調) among elder musicians. The name Pαk-Tiau might mean the repertoire of this Tune-Family came from the North (北)，as Piet van der Loon argued. The nam巴 Pa-ηau connotes its rich repertoire comprises hundreds of (百)tunes. From available manuscripts， we learn the Pak- Tiau is a rather huge Tune-Family system， under which many popular tunes are categorized. The following famous Pak- Tiau tunes were performed velγoften and proved themselves the favorite of Nanguan musicians: 'Si-Tiau-Goan . Oan-Bong-HiuN-Li' (四朝元﹒遠望鄉旦)，'Si-Tiau-Goan . Ta-Tiap-Heng-Li' (凹朝冗﹒打疊行李)，'ThiaN-KiN-To-Koan' (聽見杜鵑)，‘Tang-ThiN-KoaN'(冬天寒)，‘Chit-Lo-An-Jian'(一路安然)，‘SiuN-Si-Pak﹒TianChoan-Loan-Hong-Chhun' (相思北﹒輾轉亂方寸)，'Chhiu-Jin-Oan' (愁人)，‘Tiet-Lai-Po-Hi'(特來報喜)，ιKo-Hoan-Go-KiN'(鼓返五更)，‘Sim-Lai-Lan-Bun'(心內懶悶)，'Si司iau-Goan . Hieng-IaN-SaN-SI此， (四朝元﹒形影相)，‘Pieh-Hun-Phiau-Bi側，(白雲飄渺)，'ChhuiN-Tieng-Ban-Chiok' (千叮萬囑)，‘Tai-Tia汗Song-Bi'(大展雙眉)，‘Hong-Sian-Pak﹒Sim-TngPi-Goan' (風禱北﹒心中悲怨)，‘Tiam-Tiam-Chhui-KiN' (點點催更)，已In-KoaN-Peh-Tho' (因趕白兔)，‘Lir-ThiaN-Chan'(汝聽咱)，‘Kim-ChiN-Pak. Chhiak-Phiak-Siong' (金錢北﹒赤壁上)，'Cho-Hun-Pak . Piek-Liak-Goan-Sin' (皂雲北﹒迫勒阮身)，etc. The many subordinate tunes (牌名) under this category had contributed to the Tune-Family's rich repertoire. The author has found that the tunes of the followi月Tune-Families all end with 'M-Lir' (不 女尾)，regardless of their modes - those with-P耐- in their names:“Pak-Tiau" (北調)，“Ji-TiauPak" (二調北)，“Koa-Pak"(寡北)，“Kim-ChiN-Pak"(金錢北)，“Pak-Chhieng-Io晦"(北青陽)，and one Tune-Family without -Pak- in the name:“Liu-Iau-Kim" (柳搖金).On the other hand， though some Tune-Families， such as “Pak-SiuN-Si"Ut相思) ，“Pak-Te-Gim"(北地錦)，"Cho-Hun-Hui"(駐雲飛)，“la-Hong-Chhan"(野風餐)，do not end the tunes with M-Lir， their similarities with the above Pak- Tiall Tune-Families have proved their close relations. Accordi月to Piet van der Loon's The Classical Theatre and Art Song of South Fukien. A Stue今of There Ming Anthologies， ('Three Ming Anthologies' hereafter) and his thesis， 'Ming Anthology of Classical Theatresd Art Song' (明刊戲曲弦管選集)， there are 18 Pak-TuneFamilies survived till today， but only eight of them are the same "hthe current Pak-Tiau， while the rest belong to "Pak-Chhieng-long" (北青陽)，“Liu-Iau-Kim"(柳搖金)，and “SaN-KhaTio" (三腳潮)，etc. He was somewhat uncertain about these Tune-Families' transfo叫rm Inter-Relations， however， the author is positive of the existence of some subtle relations among them. Starting from Three Ming Anthologies， through the comparison with Miniature Taokuang Chuinepho Manuscript (袖珍寫本道光指譜) (1846)，Ching Woodcut Wenhoantang ChuiNPho Manuscript (清刻本文煥堂指譜) (1857)， manuscripts found in Taiwan， and performaic practice， the author will try to prove the relations among these Tune-Families.