The Study Of Drama Pattern Spectrum In Ming And Qing Dynasties

Drama pattern spectrum is a significant written style in classical musical art. In ancient years, it seems not only as a model to create Ci(词)and Qu(曲)for dramatists, but also as a bridge between scholars’creation and singing by actors. It turns to be obbligato reference for us to read or collate drama texts up to now. Meanwhile, as the most systematic critical type of Chinese classical drama, it tends to have functions of selection, table, products, review and so on, which plays an important role during our theoretical system forming process. In Ming and Qing dynasties, this kind of works especially flourished so that I choose drama pattern spectrum about this period as my research project.In chapter 1, I focus on periodization problem of drama pattern spectrum. According to changes of contents and forms of different spectrum, I divide its development into six stages:infancy stage, mature stage, independence stage, perfected stage, silver stage and sunset stage. Then I preliminarily ask for reasons of changes. In addition, I card relationship between pattern spectrum and musical tune-names. Actually, pattern spectrum switched musical style into pure words pattern style from original lyrics rules.In chapter 2,1 mainly discuss Jiang Xiao’s(蒋孝)<Past Code of Nine Musician Modes on Southern Tunes>(《旧编南九宫谱》)and <Nine Musician Modes>(《九宫谱》),<Thirteen Melodies and Syllables of Southern Tunes> (《十三调谱》)which were collected by Chen(陈)and Bai(白)Jiang’s spectrum is the first pattern spectrum of southern tunes in musical art history and marks that pattern spectrum turns to be a separate work style because of rigorous mode and pure content. His spectrum mode is extremely simple which was limited by historical condition and author’s creation awareness so that there was only one example after every tune in chapters. So did his analysis of tunes. His example songs came from mill block-printed edition including famous songs and unknown songs which patterns were coherent. I found the origin of Chen and Bai’s spectrum which attached by <Past Cod>(《旧编》)and certificate they were two musical spectrum of southern tunes which were appeared in early Ming dynasty. According to southern tunes accompanied by instruments, they created two melody systems named "Nine Musician Modes of Southern Tunes"(南九宫)and "Thirteen Melodies"(十三调)which affected by thoughts of drama origin from imitating the Yuan drama and <Dong’s Western Chamber>(《董西厢》)In chapter 3,I mainly discuss characters and value of <Total Spectrum of Southern Tunes>. According to discriminating concepts of nowasinging (今唱), time-singing (时 曲), original tunes(本调), ancient board(古板), etc. with some review of this spectrum by people in Ming dynasty, I certificate it is the first pattern spectrum in terms of Kunqu’s (昆曲) reform. Its value performs by pursuing perfect spectrum and way of editing spectrum in complex condition. They are meaningful for perfect styles of pattern spectrum and improving academic stage so that this <Total Spectrum>(《全谱》)should be regarded as a mark of mature stage for these kinds of works.In chapter 4, I choose <Ku-Lou Ge>(《骷髅格》)which collected in national library as my study item. Though this spectrum was written late, its authenticity problem directly related to academic discussion about origin and mature time of drama pattern spectrum. It focused on drawbacks of <Total Spectrum of Southern Tunes>(《南曲全谱》)to replenish, add sing board(唱板)and explain doubts. Based on its statement, its content mainly cited from ancient spectrum in Han and Tang dynasties named <Ku-Lou Ge>. But according to historical facts, tune-names(曲牌),terms of musical arts and rhythm examples in this spectrum, I found that this so-called Ming Emperor’s(明皇) handbook in Tang dynasty named <Ku-Lou Ge> is not ancient spectrum of Han and Tang dynasties or past spectrum of Song and Yuan dynasties. Actually, it was a disguised work in terms of enhancing authority which was influenced by thoughts of drama tracing source. From these above, the problem of origin of pattern spectrum and mature time need to be clarified:<Ku-Lou Ge> is not ancestry of pattern spectrum, and <Tai-he Standard Pronunciation Spectrum>(《太和正音谱》)written by Zhu Quan(朱权)in early Ming dynasty is the first mature pattern spectrum.Chapter 5 is about<Generally Standard Spectrum of Northern Tunes>(《北词广正谱》)which was edited between Ming and Qing dynasties. It is not only the most significant work of northern tune spectrum, but also a typical representation of a faction who "respects Yuan and recovers ancient works"(“崇元复古”派)in drama pattern spectrum. I focus on two prints:one is about is author. Academia always attributes this <Generally Standard Spectrum>(《广正谱》)to Li Yu(李玉),but we cannot see any action of establishment compared with Xu Yu-shi’s(徐于室)original <Northern Spectrum>(《北词谱》)Scholars who support Li Yu generally depend on a preface written by Wu Wei-ye(吴伟业),but it was not collected in the <Mei-cun’s Manuscript Collected at Home>(《梅村家藏稿》)and there are some differences between this preface and Li Yu’s life. So I believe this preface should be fabricated. In addition, I found proof to certificate it was not published by Li Yu so that it should be attributed to Xu Yu-shi. Another point is about a concept named "Modes Divertion"(借宫)which firsty appeared. Someone made points on this concept with regard to a kind of "switch doctrine" (出入说)aiming at digesting difference between <Midland Phonology> (《中原音韵》)and <Qu’s Discussion by Tao Jiu-cheng>(《陶九成论曲》)and unity them. However,<Generally Standard Spectrum>(《广正谱》)nainly depends on <Midland Phonology>(《中原音韵》)when determining origin melody of tune-names.In chapter 6,I mainly focus on the author and edition with Hu Jie-zhi’s(胡介祉)<Total Spectrum of Nine Musician Modes in Southern Tunes>(《南九宫谱大全》)It was edited in silver stage of pattern spectrum same as <Generally Standard Spectrum>(《广正谱》),but it obviously tended to immediation instead of its own time. He would like to achieve forever reputation to edit <Total Spectrum>(《大全》)influenced by Shen Jing’s(沈璟)edition. He adjusted <New Spectrum>’s(《新谱》)melody system and classification of tune-names based on Shen Zi-jin’s(沈自晋)<New Spectrum of Southern Tunes>(《南词新谱》).It nearly saved all the example songs due to editing ideas of respecting whole(求全)and follow nowadays (从今). After written, this book was collected in Confucian residence, then collected by Bai Ling(百龄). In 17th Republican (1928), Lu Qian(卢前)bought six books of fragments, and these books was destroyed by war. The only seven books of fragments are collected in national library now, and they are same as Lu’s books.