新昆山腔的曲律规范与汤显祖剧作的“失律"  

The Standard of Melody in New Kunshan Accent and the New Issue of "No Hormonious Musical Rhythm"in Tang Xianzu's Drmamas

作　　者：黄振林[1] 

机构地区：[1]东华理工学院文法与艺术学院,江西抚州344000

出　　处：《东华理工学院学报（社会科学版）》2005年第4期301-305,共5页Journal of East China Institute of Technology

基　　金：江西省教育厅高校人文社会科学研究项目<汤显祖与明代江西声腔研究>(项目批准号YS0508)阶段性成果。

摘　　要：经过魏良辅的改造,新昆山腔具备了“磨调”的唱法和“转喉”的发声技巧,并对曲唱的字声提出了规范要求。而沈璟又在曲谱上对它进行更为苛刻的限定,反使之成为传奇的束缚,限制了剧作家的才情。对唱腔曲牌的“犯律”并不始于汤显祖,只是平仄和押韵的不谐,不方便以吴语为基础的昆腔“转喉”的唱法,因此被吴中文人指责为“失律”。Having been reformed by Weiliangfu, new Kunshan accent possessed a singing method as the same melody as rotating a mill, had a technique of uttering words as the same tune as changing sound through throat, and advanced a set request about the tune of the singing words. After that, because Shenjing limited new Kunshan accent more harshly than ever, so the melody of Kunshan accent became a tie to bind up poetic dramas, limited dramatists＇ talent greatly. It is not Tangxianzu that began to disobey musical rhythm of the melodies, but because in Tangxianzu＇ s dramas he had Ping tone and Ze tone not be harmonious with rules of rhyming, and had them not accord with the singing method of ＂changing sound through throat＂of Kunshan accent based on the local language of Wu, so his dramas were criticized the drama of＂ No hormonious musical rhythm＂ by men of letters in middle area of Wu.

关 键 词：汤显祖 新昆山腔 失律 曲律规范 

分 类 号：J614[艺术—音乐] J825.53