明清江南曲坛“松江曲派”质疑  

Questions on Jiangnan Musical Altar "School of Songjiang Drama"

作　　者：汪超[1] 

机构地区：[1]安庆师范学院文学院,安徽安庆246133

出　　处：《江南大学学报（人文社会科学版）》2014年第4期82-87,共6页Journal of Jiangnan University：Humanities & Social Sciences Edition

基　　金：教育部人文社科项目"明清传奇戏曲文体观念与文体嬗变研究"(12YJC751076)

摘　　要：文章针对"松江曲派"的提出,着重通过曲家、曲社、曲论的具体论析,参照以文学流派形成确立的主要特征,揭示出"松江曲派"的界定仍存在诸多悬疑。同时,试图通过对"松江曲派"的考论,进一步认识明清之际的松江曲坛,以此抛砖引玉重新评价松江曲坛的戏曲成就。This paper mainly for proposing of ＂ School of Songjiang Drama＂, focusing on a specificcomposer, music clubs, music theory analysis, referring to the formation of the main features of theestablished literary genres, revealing that there are still a lot of suspense about the defining of ＂School ofSongjiang Drama＂. Meanwhile, the attempt by dynasty about ＂School of Songjiang Drama＂, have a betterunderstanding about Songjiang musical altar in Ming and Qing Dynasties, in order to initiate a re-evaluation about drama achievement of Songjiang musical altar.

关 键 词：“松江曲派” 《天马媒》 曲社 施绍莘 

分 类 号：I207.37[文学—中国文学]