| Abstract |
Synopsis: The phrase [Neither Searching for GING nor counting for DIAO] in Gao-Ming’s 〈A Story of PI-PA (a Chinese guitar)〉 by the time of end-Yuan dynasty has become controversial among QU(dramatic song) specialists started from Ming dynasty up to now. There are two opinions about it: some deminishing it as betraying the correct GONG & DIAO, some prasing it as just meet the exact pattern requirement of NAN-QU (southern drama). Even those QU specialists have expressed their different points of view though, there were few of them have truly checked & stupied the real characteristic pattern requirement of 〈A Story of PI-PA〉 for GONG & DIAO. This these is trying to make experimental study into the practical situation of how GONG & DIAO have been applied at the time when 〈A Story of PI-PA〉 was created, so to make a analytical clarification of all these different opinions -- and to further study and prove the true significances of why the work 〈A Story of PI-PA〉 is being called [The Inauguarator ofCHUAN-QI(a well-composed southern siction)], and to obtain the profound implication of that time of Yuan dynasty. Keyword:〈A Story of PI-PA〉, GAO-MING (ZE-CHENG), Searching for GONG & counting foe DIAO, The Inauguarator of CHUAN-QI, Characteristic pattern requirement of NAN-QU, Serials of QU-PAI |
