南管音樂原屬民間音樂的一環，兩岸的南管音樂生態，受到現代繽紛多樣的娛樂資訊影響，館閣樂人的傳承出現斷層危機，各地曲目的傳承亦趨向簡化。目前兩岸各地有不少學者從歷史學、社會學、人類學、方法論等各方面著手研究，相關論著甚多，但是有關南管音樂的音樂理論與樂儀方面，卻一直缺乏系統的整理。近些年來，政府單位如國立傳統藝術中心，一直希望透過學者專家與各地老館閣合作，再現整絃「排門頭」與「樂不斷聲」的樂儀。 事實上，「排門頭」與「樂不斷聲」，都曾是臺灣早期傳統整絃活動的特色，但至少已有50年，南管界未曾有過完整的「樂不斷聲」的整絃活動，所有相關的訊息皆來自老樂人的口述，綜合各家口述，我們知道此型態的整絃活動，其實是建立在南管的音樂理論基礎，與音樂美學觀念上，但目前各地老樂人只有一二位或曾參與，大部分僅從前輩聽聞，各家說法，眾說紛紜，尚存在些分歧點，因此，我們想恢復「絕響半世紀的整絃排場」，可能需要透過多次示範性，「樂不斷聲」的南管音樂會，一方面將口述歷史中的情景再現，並從真正的演練過程中，發現問題；另方面，則有賴學者與老樂人的共同參與研討，修正不合理與不合時宜之處，再提出活動方案，爲各地絃友作整絃活動、樂不斷聲的排門頭之宣導與再教育，最後才可能呈現較理想之樂不斷聲整絃活動。 爲了讓大家能更瞭解南管整絃的排門頭，筆者就個人學習經驗，與田野訪談資料綜合整理，敘述有關傳統「排門頭與樂不斷聲」的作法及相關的樂儀。

Nankuan music was originally a part the folk music. The ecology of Nankuan music of both sides of Taiwan Strait has been strongly affected by modern and various entertainments, thus Nankuan musicians' heritage has been endangered, and repertoire simplified. Nowadays, many scholars have studied Nankuan music's ceremonial performances from different fields such as history, sociology, anthropology, and methodology, etc., but always lacked a systematic arrangement. In recent years, Taiwan government institutes such as National Center of Traditional Arts, have been hoping to rebuild the “Pai-Mng-Thau” and “Gak-put-toan-seng”, means music uninterrupted while switching the musicians, the ceremonial performance of Nankuan music, through the help of scholars and old Nankuan Societies of different locations. In fact, both “Pai-Mng-Thau” and “Gak-put-toan-seng” used to be characteristic performances of Nankuan in Taiwan. However, it has been at least fifty years that the Nankuan circle missed a complete activity of “Gak-put-toan-seng”. All the relevant information was told by old musicians. According to different oral accounts, we know that “Gak-put-toan-seng” was built upon the music theory and aesthetics of Nankuan, but only very few living musicians have participated in this activity, while most musicians only heard of it from elders. If we want to rebuild the ceremonial performance that has been missing for half a century, we may need many demonstrative “Gak-put-toan-seng” concerts, to re-live the oral history on one hand, and to find problems during practices on the other hand. We will alsoneed scholars and musicians to correct the unreasonableness and untimelyness of these performances, followed by a proposal of the project to publicize and educate Nankuan lovers, and ultimately present the ideal “Gak-put-toan-seng” concerts. For further understanding of “Pai-Mng-Thau” in Nankuan's concerts, the author will describe the traditional “Pai-Mng-Thau”, “Gak-put-toan-seng” and their relevant ceremony, according to her experiences and field studies.