傳統琵琶樂曲分類之探討

An Investigative Study on the Traditional Classification of Classic Pipa Scores

本文將探討琵琶傳統樂譜與當代學者對傳統樂曲分類的觀點，並根據傳統樂譜中透露的訊息，提出另一種角度理解。選出四本影響深遠之傳統樂譜做探討：1819年華秋蘋《琵琶譜》、1895年《南北派十三套大曲琵琶新譜》、1929年《養正軒琵琶譜》和1936年《梅菴琵琶譜》。初步可看出大部分傳統樂譜都有「文」、「武」之分，用以形容樂曲性質與風格；另以「大曲」之分類突顯樂曲的結構。不甚一致的分類標準引發當今學者論述並各自提出自己的分類方式。面對眾多討論，是以什麼標準來分類？其背後是由什麼思維來理解？本文將逐一疏理探討。

This article re-examines the traditional classification of classical pipa scores and the point of views of contemporary scholars on this subject. With close readings on the four most important classic score collections published from early 19th century to mid-20th century, the author proposes a new perspective on classification. The four classic scores, which are by far the most influential and widely circulated ones, are: 1. Pipa Scores of Qiu-Pin Hua (1819), 2. Thirteen New Pipa Daqu Scores of Southern and Northern Schools (1895), 3. Pipa Scores of Yang Zheng Xuan (1929), and 4. Pipa Scores of Mei An (1936). Conventional overviews show that the scores are broadly categorized into either ''Wen'' or ''Wu'' in accordance with the musical styles, whereas ''Daqu'' according to the structure of the work. This lack of consistency in the principle for classification inspires contemporary scholars to theorize their own discourse and introduce different methods for classification. Within these heteroglossic propositions, which should be the most reasonable standard for classification? What is the rationale behind that standard? This article elucidates the theoretical framework of different schools/scholars through a thorough analytical study on the four important score collections.