論說「歌樂之關係」

On the Relationship between Song and Music

本文論歌樂之關係，從創作方面觀察，有群體創作而流傳之號子、歌謠、小調，有以新詞套入舊腔之號子、歌謠、小調，有選詞配樂，有倚譜配詞、倚聲填詞，有摘遍，有自度曲，有詞調之令引近慢等八種。若從呈現方面觀察，則有誦讀、吟詠、依腔傳字、依聲行腔、依字定腔等五種。而歌樂關係的終極，實在於語言情趣與所承載的旋律之融合。從而使詞情與聲情互為生發，而終於施以音樂旋律的襯托、渲染、描述、強化而更趨於完美。這其間實亦有賴於語言旋律與音樂旋律的相激相盪而相得益彰。對於歌樂由本身之互為生發、相得益彰，到由歌者唱腔之融合呈現，本文先舉周德清「務頭論」，以述其「先見之明」，次舉韻文三例分析其必然性與重要性，最後更論述歌者「唱腔」之融合呈現，從而說明板腔體之流派藝術之所以建構的基礎。蓋因「歌樂關係」實為戲曲文學藝術之至境，故不惜篇幅逐層論述。而即此也可以見諸如詩詞歌賦講求聲韻的文學，在鑑賞之時不能捨「聲情」不論。這也是為什麼古人作詩作詞要講求格律，而於人工音律之外還須顧及自然音律的原因；這也是為什麼偉大的詩人像杜甫要說「晚節漸於詩律細」、「新詩改罷自長吟」，而連元代的趙文也要說「詩之為教，必悠然諷詠乃得之」的原因。詩已如此，則更何況最講究語言、音樂融合無間的戲曲！但「歌樂融合」則必須經由人聲唱出始能呈現，此即所謂「唱腔」。而唱腔之構成在於一己之音色、咬字吐音之口法，以及其達意傳情行腔之修為，總此而遵循詮釋唱詞之音符，並和以其襯托之樂器，乃始克完成呈現。則唱腔亦實為複雜之有機體。然而學者迄今仍迷亂於腔調、聲腔、唱腔之名義，以致討論問題，難有交集，這也是本文要評論「唱腔」的緣故。而如果縱觀古先哲與今時賢所論「歌樂之關係」，則大抵止於「選詞配樂」和「倚聲填詞」兩種情形，像俞為民舉出「依腔傳字」和「依字定腔」算是特殊。即此也可見本文分析考慮之周詳。

This article discusses the relationship between ge (song) and yue (music). Observed from the aspect of creation, among songs and music there are collective writings transmitted to the current time in formats of haozi (horn), geyao (ballad) and xiaodiao (folksong), as well as new lyrics patterned into old tunes also in formats of horn, ballad and folksong. Further, there are selective lyrics matched to music, matched lyrics patterned after musical scores, filled in lyrics patterned after sound, excerpts, self-composed melody, as well as ling, yin, jin and man of lyric tunes, totaling eight different kinds. Observed from the aspect of presentation, there are reciting, chanting, transmitting words patterned after tunes, playing tunes patterned after sound, and settling tunes patterned after words, totaling five different kinds. The ultimate end of the relationship between song and music is in fact the fusion of the beauty of language and the melody upon which it is carried. With feelings of lyrics and sound interacting, added to the contrasts, exaggerations, descriptions and strengthenings from the musical melody, it reaches the state of perfection. This relies on the mutual impact between melodies of language and those of music. From the interacting and complementing between song and music to the presentation stage of a singer singing tunes, this article first cites Zhou Deqing’s “wutou lun” (the theory of attending to the head) and explains its “foresight.” Following which it cites three examples of rhymed verse to analyze its necessity and importance. Finally it discusses the blending presentation of “singing tunes” by the vocalist and thus describes the origin founding banqiang ti (the style of plank tunes) as a branch art. As the “relationship between song and music” is really the supreme state of the art of theater, this article examines it in great length and detail. Here it is shown that, while appreciating rhymed literature such as poetry, Song lyrics, songs and prose-poetry, one cannot disregard the “feelings of sound.” This explains also why the ancients sought particularly for poetic meter in composing poetry and Song lyrics, and they even paid attention to natural pitch of sound on top of man-made tones. This is also why the great poet Du Fu had the lines “with old age the details of poetic rules are narrower,” and “revision of a new poem depends on chanting it long.” Likewise, even Zhao Wen of the Yuan Dynasty said also: “The teaching of poetry requires leisurely reciting and then it can be obtained.” It is this way with poetry, not to mention opera which is most elaborate about complete fusion of language and music! “The fusion of song and music” needs a vocalist to sing it for presentation, and this is the so-called “singing tune.” The formation of a singing tune is based on one’s timbre, pronouncing method, and the cultivation of the ability to forward feeling through tunes. Summing all these, following and interpreting musical notes, matches with corresponding musical instruments and then the presentation is completed. Thus “singing tune” is indeed a complex organism itself. However, to this day scholars are often bewildered by the terms of tunes, sound tunes and singing tunes, resulting in hardly any common ground for discussion. This is also a reason this article comments specifically on “singing tunes.” On the issue of the “relationship between song and music,” criticism to date by ancient philosophers and contemporary scholars generally fall within two types of discussion, namely that of “selective lyrics matched to music,” and “filled in lyrics patterned after sound.” As for Yu Weimin’s citing of “transmitting words patterned after tunes,” and “settling tunes patterned after words,” that can be counted as extraordinary. Thus at this juncture this article shows its comprehensiveness and clarity in consideration and analysis.