论明清时调小曲的渊源与发展——以“凤阳花鼓戏”的生成为研究个案  

On Origin and Development of Tunes Song in the Ming and Qing Dynasty——Taking the Growth of Feng Yang Flower-Drum Opera as a Research Example

作　　者：李荣新[1] 

机构地区：[1]哈尔滨师范大学人文学院

出　　处：《北方论丛》2007年第3期19-21,共3页The Northern Forum

摘　　要：中国民歌如按流行区域来划分,可分为乡土民歌(乡村)与时调小曲(城镇)两大类,二者之间有着极为复杂的渊源关系。但如要从乡土民歌中划分出时调小曲,做出畛域分明的区分界定,又颇为困难。从明清之际在民间广为流传的《凤阳歌》(乡土民歌)演变为《凤阳花鼓曲》(时调小曲),最后形成《花鼓戏》(戏曲)的生成过程,可以窥见明清之际时调小曲产生的渊源及其发展情形。If the folk song of China is divided according to the popular region, it can be divided into the two kinds, the local folk song （village） and the tunes song （cities）. The two have the very complex relations of origin. But if dividing the new tunes song from the local folk song, making the distinct discrimination also is quite difficult. From the Fengyang Song （local folk song） that was spread in the Ming and Qing Dynasties in the folk to Fengyang Flower Drum Tune （new tunes song）, finally forming Flower drum Opera （drama）, the process of production can show the origin and the various situations of development which the new tunes song produced and developed in the Ming and Qing Dynasties.

关 键 词：乡土民歌 时调小曲 凤阳歌 凤阳花鼓曲 花鼓戏 

分 类 号：I206.2[文学—中国文学]