元明时期“弦索”在北曲中的角色变迁  

Change of Role of“Xian-Suo”in Bei-Qu Opera in Yuan and Ming Dynasties

作　　者：侯丽俊[1] 

机构地区：[1]晋中学院文学院,山西晋中030600

出　　处：《山西大同大学学报（社会科学版）》2016年第3期60-63,共4页Journal of Shanxi Datong University(Social Science Edition)

摘　　要：元明以来,弦索乐器逐渐成为北曲伴奏中的主要角色,在语体和曲谱上与北曲丝丝相扣,代表了北曲特有的审美风格,也形成了北曲较为固定的音乐体式。随着南北曲的不断交融,南曲吸收了北曲音乐精华,并将弦索乐器进行改良,引入南曲伴奏中,弦索也逐渐从北曲中脱离开来,至此走上一条多元化之路。Since the Yuan and Ming, Xian-Suo instruments are very important in the Bei-Qu Opera performances, in the style of music is matched with Bei-Qu Opera, they are not only on behalf of Bei-Qu Opera unique aesthetic style, but also the formation of Bei-Qu Opera relatively fixed music style. With the continuous exchange of Bei-Qu Opera and Nan-Qu Opera , Southern Opera absorbed the essence of the Northern Opera music, and Redesign Xian-Suo instrument, then put it in the accompaniment of Southern Opera, Xian-Suo also gradually be divorced from the Bei-Qu Opera, Since then it embarked on a wide range of road.

关 键 词：弦索含义 教坊主角 以弦存谱 弦索格律 南音化 

分 类 号：I207.37[文学—中国文学]