明清戏曲传承中工尺谱的作用及首调唱名法的确立  

The Function of Gongchi Notation and the Establishment of Movable-do Solfège in Chinese Opera Music during the Ming and Qing Dynasties

作　　者：李宏锋[1] 

机构地区：[1]中国艺术研究院音乐研究所,北京100029

出　　处：《星海音乐学院学报》2014年第1期53-65,共13页Journal of Xinghai Conservatory of Music

基　　金：2010年度国家社会科学基金艺术学项目"宋以来宫调理论变迁及其与音乐实践的关系"(10CD082)

摘　　要：文章从明代戏曲创腔体制、明清之际家乐戏班传承方式变迁等方面,探讨工尺谱在当时戏曲音乐传承中的作用,及其首调唱名法的确立时代与原因。笔者认为,明代戏曲以"腔句"为主要特征的创曲方法,使工尺记谱在明代戏班的口传心授过程中并非绝对必需。随着清以来家乐戏班衰亡,依字行腔、词乐曲唱传统失落,工尺谱字成为记录昆腔旋律的必要手段,催生大量以首调唱名为主体的词乐宫谱。从本质上讲,清初以来工尺谱堂而皇之步入戏曲领域,源自戏曲传承实践变迁引发的记录形式新需求,工尺谱在戏曲传承中仍发挥唱腔"备忘录"作用。明代戏曲中的格律谱、清代使用的工尺谱,乃至人们对唱腔工尺谱首调唱名的选择,都与音乐表演和传承实践密切相关。Based on the music creation and music transmission systems of the family owned Chinese opera troupes in Ming and Qing dynasties, this paper discusses the role that Gongche notation played in the transmission of Chi- nese opera music. The author argues that Gongche notation was not absolutely necessary for the family owned Opera troupes in the Ming dynasty when oral transmission was popular. Gongche notation became widely used after Qing dynasty when used for notating Kunshan Opera music, which creates a large number of Gongche notation scores u- sing movable - do solf^ge. Gongche notation gained significant popularity in Chinese Opera practice in the early Qing dynasty in order to meet the changes of transmission patterns of Chinese opera music. The development of Gongche notation and the formation of its movable - do solf^ge were all closely related to the music performance and transmission practices throughout history.

关 键 词：工尺谱 格律谱 首调唱名 固定调唱名 工尺七调 戏曲音乐 

分 类 号：J609.2[艺术—音乐]