本文從分類的重要性出發，探討南管分類系統在南管樂人的認知和南管音樂文化運作機制上扮演的角色。本文先指出南管分類系統的基本架構由四類們頭所組成，而且此分類系統之雛形最晚到十七世紀初(亦即明末)已經存在於南管曲簿，之後經歷代樂人擴充而成現在的格局。接著本文提出此分類系統在南管樂曲之創作、展演、學習、欣賞上所扮演的角色。在創作方面，們頭牌名是南管樂人創作新曲和新們頭的基礎，並以歷代南管創作實例證明們頭牌名的創作活動至今仍在進行，而且即使近幾十年來南管的演出形式有所改變，們頭牌名仍舊持續存在。在展演方面，們頭牌名乃南管樂人必備之知識，並舉例說明南管曲目分類系統如何為傳統排場提供了曲目安排的基本規範。在學習方面，們頭牌名是南管學習和教學的重要依據，而排們頭的規矩和所謂的五大套(或八大套)指套為南管樂人熟悉們頭牌名提供良好機制。在欣賞方面，們頭牌名是南管樂人欣賞演出的依據和評價其他樂人的標準o最後本文指出們頭牌名是南管音樂之所以為南管音樂的最根本條件，而南管曲目分類系統則是南管音樂文化運作機制的最主要核心。

Classification is one of the basic survival skills for homo sapiens.
Using this as the basic premise, this paper investigates the vital roles played
by nanguan song classification system in nanguan musicians’ cognition and
in the working mechanism of nanguan musical culture. It first proposes that
the classification system of nanguan songs consists of four main categories
of tune families (mentou) and their subordinate tunes (paiming). Then it
shows that the nascent form of the classification system already existed in
the nanguan songbooks in the early 17th century and continued to develop
to its present scale through the efforts of nanguan musicians in the past few
centuries. This paper then goes on to investigate the roles that the system
plays in the creation, performance, learning, and appreciation of nanguan
music. In terms of creation, the system provides the basis for the creation of
new pieces and new tune families, and such creative process persists to the
present despite the many innovative attempts made by musicians in the past
few decades to “reform and improve” nanguan by changing its instrumentation
and performance format or style. In terms of performance, nanguan
musicians need to acquire knowledge about the tune families and tunes in
order to be able to realize the pipa melody recorded in nanguan songbooks
into actual music; in addition, the classification system provides the framework
for the so-called “paimentou” (performing tune families) in traditional
nanguan concerts in the choices and ordering of the pieces to be performed.
In terms of learning, the system serves as the foundation for the
teaching and studying of nanguan; moreover, the traditional concerts and
the basic five or eight song suites familiarize musicians with the tune families and tunes of the system. In terms of appreciation, musicians depend on their
knowledge about the system to evaluate other musicians’ artistry and their
mastery of nanguan musical theory. In short, this paper proposes that tune
families and tunes constitute the basic identifying feature of nanguan music,
and that the classification system of these tune families and tunes functions
as the core of the operative mechanism of the nanguan musical culture.