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沈宠绥是明代最重要的曲学理论家之一,是继魏良辅之后曲学发展史上的又一个里程碑式人物。他对昆曲演唱的字音问题关注颇多,主要有两方面的论述影响最为深远:一是平、上、去、入四声唱法理论;二是字头、腹、尾的切音唱法理论。本文要讨论的正是字之头、腹、尾音问题以及与之相对应的昆曲演唱中字音的起末过渡问题。沈宠绥于此的探索和论述一方面远绍曲圣魏良辅,另一方面也对后世徐大椿等曲学家具有深远影响,不仅在当时,直到现在都对舞台上的戏曲演唱有着非常重要的指导作用。
Shen Chongsui, one of the most important songwriters in the Ming Dynasty, is another landmark in the history of the development of music after Wei Liangfu. He paid a lot of attention to the phonetic problem of Kunqu opera. There are mainly two aspects of the most far-reaching discourse: one is Ping, Shang, Go, Into the Four Singing Theory; This article is to discuss is the head of the word, belly, tail problems and the corresponding Kunqu opera in the pronunciation of the transition from the beginning to the end. On the one hand, Shen Chongsui’s exploration and discussion have far-reaching influence on the one hand, while on the other hand, Xu Dachun and other musicians have a far-reaching influence on singer-songwriter not only at that time, but very important guidance effect.