古代戏曲尾声研究  

On Wei Sheng

作　　者：吴敢[1] 

机构地区：[1]徐州师范大学文学院,徐州221116

出　　处：《文化艺术研究》2009年第3期125-167,共43页Studies in Culture and Art

摘　　要：尾声一词相对套曲而言,最早见于《都城纪胜》。《诗经》即有"套曲"亦当有尾声。尾声的名称,经由楚辞的【乱】、汉魏大曲的【趋】、南朝吴歌的【送声】与西曲的【和】、唐大曲的【彻】、宋大曲的【煞衮】、北宋缠令的【尾】,至南宋唱赚的【尾声】,方始定名。其后南北曲以【尾声】为基础,创制出几十种花样繁多的名目后,又简约回归为【尾声】。The term ＂wei sheng＂ （ending in the Chinese traditional drama） first appeared in Ducheng Jisheng （Records of the Splendors of the Capital）, which is usually understood with reference to another term ＂tao qu＂ （suite in the Chinese traditional opera）. In The Book of Odes there are suites as well as endings. It underwent from terms like luan in Elegies of Chu, qu in Daqu of Han and Wei dynasties, song sheng in Wu Songs and he in Western Music of the Southern Dynasties, che in Daqu of the Song Dynasty, wei in Chang Ling of the Northern Song Dynasty Chang Zhuan of the Southern Song Dynasty. Though southern and northern drama music later, the term wei and finally came to its name as wei sheng in dozens of new different names are created in sheng eventually settled.

关 键 词：尾声 演变 规律 

分 类 号：I207.34[文学—中国文学] I207.37