中国戏曲音乐发展概述——近代民间小戏的繁盛  

The Outline of the Music Development of Traditional Chinese Operas(Ⅰ)——The Prosperity of Folk Small-Scaled Comprehensive Art in Modern Times

作　　者：刘云燕[1] 王芳[1] 

机构地区：[1]沈阳音乐学院音乐学系

出　　处：《乐府新声（沈阳音乐学院学报）》2011年第1期116-122,共7页The New Voice of Yue-Fu(Journal of the Shenyang Conservatory of Music)

基　　金：辽宁省教育厅人文社会科学研究项目项目批准号:20060895

摘　　要：集中华民族传统文化之大成的中国戏曲,是中国传统音乐文化的一朵奇葩,也是世界文化的瑰宝。尤其是清代以来,我国戏曲艺术的发展更是成就斐然。"花部"中的吹腔、梆子、皮黄腔迅速崛起,"雅部"的昆腔、高腔由盛而衰。这不仅使京剧艺术形成并几至席卷全国,也使明代后出现的各地方小戏在此时获以快速发展。道情、秧歌、滩簧、采茶、花鼓等新兴民间戏曲也脱颖而出。The traditional Chinese opera,having absorbed all the essence of traditional Chinese culture,is a wonderful artistic form of traditional Chinese musical culture and the world culture treasure as well.Especially since the Qing Dynasty,the traditional Chinese operas have made great artistic achievements.Chui-qiang,bang-zi and pi-huang-qiang of ＂hua-bu＂ developed rapidly,whereas kun-qiang and gao-qiang of ＂ya-bu＂ experienced from prosperity to decline.This not only made the Peking Opera come into being and nearly spread throughout the country,but also promoted the fast development of local small-scaled comprehensive art which appeared after the Ming Dynasty.Such newly produced folk operas as dao-qing,yang-ge,tan-huang,cai-cha,hua-gu,prospered swiftly.

关 键 词：曲牌体 板腔体 “花部” “雅部” 民间小戏 

分 类 号：J614.93[艺术—音乐]