北、南曲笛上宫调演变考析  

Research on Change of Flute's Mode of Music in Northern and Southern Operas

作　　者：郑祖襄[1] 

机构地区：[1]杭州师范大学音乐学院,杭州310002

出　　处：《文化艺术研究》2012年第1期67-73,共7页Studies in Culture and Art

摘　　要：宋元杂剧音乐由"六宫十二调"的固定调体系发展到明代以后的"北九宫"首调体系;而"永嘉杂剧"本无宫调,明代以后也产生了"南九宫"。笛作为杂剧的伴奏乐器,从"燕乐二十八调"体系逐渐演变为"工尺七调"体系,成为北、南曲赖以定调的乐器。燕乐二十八调的"七宫"和工尺"七调"之间的前后继承关系也十分清楚。笛上宫调性质的演变反映出元代以后北、南音乐的流变和音乐本身特征的变化。The mode system of music in poetic dramas of the Song and Yuan Dynasties changes from ＂six modes and twelve tones＂ to ＂nine modes in the North＂ after the Ming Dynasty, while the Southern Opera which originally has no mode of music also produces ＂nine modes in the South＂ after the Ming Dynasty. As an accompaniment of poetic dramas, the flute becomes an instrument that the Northern and Southern Operas depend on when setting the tone; its mode system gradually develops from ＂twenty-eight mode system of royal court music＂ to ＂seven modes of gongche system＂. The change of flute＇s mode of music reflected the transformation of Northern and Southern music after the Yuan Dynasty.

关 键 词：北曲 南曲 笛 二十八调 工尺七调 

分 类 号：J612.1[艺术—音乐]