南管音樂門頭探索（三）—從知見曲目探索明刊本〔雙〕與〔背雙〕相關曲目
姓名：林珀姬
系所/單位：傳統音樂學系
明刊本中著錄為〔雙〕、〔背雙〕、〔二調〕、〔山波洋（山坡羊）〕等門類，曲目相當多，目前都屬於南管音樂中的七撩拍曲目，是南管音樂中藝術性最高的慢曲，筆者從演唱的經驗，覺得它的唱法相當古老；曲辭則保存了宋、元、明清歷代戲文與文人、樂人創作之「清曲」（或稱「錦曲」）。透過手抄本的蒐尋，發現《明刊三種》中，有 0首七撩拍曲目，至今仍保存在手抄本中，其中只有11首牌名產生變異，不禁令人訝異於南管音樂藉由口傳心授，傳承的韌性，在四、五百年間，還能保持其一貫不變的傳統。本文藉著證古酌今，希望對這些七撩拍曲目的門頭與牌名變遷，能有更進一步的認識，同時也希望能藉此研究，建立起南管音樂門頭理論系統。
According to Piet van der Loon's The Ming Anthology of The Classical Theatre and Art Song SouthbFukien: A Study of Three Ming Anthologies,('Three Ming Anthologies' hereafter), there are quite a few 'song', 'Boe-song', 'Ji-diau' and 'San-po-iunn' tune-families, which belong to ”8/2 time” (double quadruple time), the highest artistic slow repertoire. The author has sung these tunes and experienced their ancient way of singing, and their original lyrics from scripts and songs by literati and musicians of Sung, Yuan, Ming, Qing empires. From a survey of manuscripts the author discovered that sixty ”8/2 time” tunes of the Three Ming Anthologies were still well preserved, and that only eleven of their subordinate tunes were renamed. This is a surprising result that an oral tradition of 400-500 years can survive with such toughness. The author wished to expore the history of these subordinate tunes' names, and at the same time set up a systematic theory of Nanguan music.