云南壮剧音乐中〔壮剧皮黄〕的音乐形态——云南壮剧音乐初探(之九)  

The Music Form in the Pihuang Tune of Yunnan Zhuang Natinality's Drama:Primary Exploration of Yunnan Zhuang Nationality's Drama Music (the Ninth Serial)

作　　者：许六军[1] 

机构地区：[1]文山学院,云南文山663000

出　　处：《文山学院学报》2011年第4期1-5,共5页Journal of Wenshan University

基　　金：文山学院科研基金项目"富宁土戏〔哎依呀〕;〔哎的呶〕壮剧班社田野考察及研究"(07WSZ02)

摘　　要：〔壮剧皮黄〕是云南壮剧音乐七个腔调中的共融型腔调之一,是云南壮剧艺人经过长期漫长的吸收和融合、探索和传承,把广戏的"皮黄腔"融合到壮剧音乐中而形成的皮黄腔曲群,分为"板类曲调","腔、调类曲调","转换类曲调"三种类型,句式基本结构以七字句、十字句和长短句为主。与云南壮剧的本土腔调虽然音乐形态各异,但在同一个剧目中演唱时会按照一定的转换方式进行转换,互不干扰、相安无事、和谐相处、相得益彰、互相依存、各放异彩,使少数民族戏曲音乐的戏剧性更加强烈和鲜明,使云南壮剧音乐更加丰富多样、绚丽多彩。The Pihuang Tune of Yunnan Zhuang Natinality＇s Drama is one of integrating tunes of the seven Yunnan Zhuang Nationality＇s drama music tunes, whieh integrates the Pihuang Tune in Guangdong drama into Zhuang Nationality＇s drama music through absorbing, melting, exploring and inheriting by Yunnan performers in the long time performance. The Pihuang tunes fall into rapping tunes, tone tunes and shifting tunes and basic sentenee patterns consist of seven, ten characters, long and short sentences. Although the Pihuang tune is different from the Yunnan local tunes in music forms, two tunes shift in a certain way in a drama and they depend on each other, bring out the best in each other and integrate harmoniously which strengthens and profiles the nationality＇s dramatic atmosphere and makes the Zhuang Nationality＇s drama music more bright and colorful.

关 键 词：云南壮剧音乐 壮剧皮黄 曲调类型 句式特征 转换方式 

分 类 号：J825.74[艺术—戏剧戏曲]