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作 者:马冬雅[1]
出 处:《回族研究》2014年第2期14-19,共6页
基 金:国家社会科学基金艺术学项目(13CB103)
摘 要:元代北曲中的回回元素突出反映在《回回曲》以及北曲的伴奏乐器琵琶中。一方面,文章在《回回曲》的分析、考证中,不仅贯通了元杂剧中《回回曲》与昆曲中《回回曲》的关联,而且贯通了元杂剧中《回回曲》与《南村辍耕录》中《回回曲》的关联,认为汉文文献所载的元代《回回曲》,特指元时西夏旧地的回回歌舞曲,《回回曲》也由此成为西北风味之一种。另一方面,对于北曲的伴奏乐器琵琶,并非强调其西亚出身,而是关注其演奏中的回回"新声",明人以回回饮食之特色"蒜酪味"形容北曲的风格,关键也在于此。The Huihui elements of northern music in Yuan dynasty were reflected in "Huihui music", andwere also reflected in Pipa that was one of the accompaniments. On the one hand, the article analyzes and studiesthe "Huihui music" that was recorded in historical materials, not only in records of Yuan dynasty Zaju plays andKunqu opera, but also in records of Yuan dynasty Zaju plays and Nan Cun Chuo Geng Lu, so the " Huihui music"recorded in Yuan dynasty' s data particularly refers to the Huihui song and dance music, and it has a strong flavor ofnorthwest. On the other hand, the article doesn' t emphasize the west Asian origin of Pipa, but rather focuses on thenew music that Pipa played in Yuan dynasty, and the new music has some characteristics of Huihui. Because of thenew music of Pipa, some people of Ming dynasty believed that northern music had a flavor of "garlic and cheese",which was precisely the characteristic of Hui diet.
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