眉户唱腔曲牌结构的演变与眉户戏的形成和发展  

The Evolution of Singing Structure in Meihu Tune and the Formation & Development of Meihu Opera

作　　者：崔金明[1,2] CUI Jinming(School of Chinese Studies,Xi’an International Studies University,Xi’an,Shaanxi 710062,China;Centre for Humantities Social Science Studies,Xi’an International Studies University,Xi’an,Shaanxi 710062,China)

机构地区：[1]西安外国语大学汉学院 [2]西安外国语大学人文社会科学研究中心

出　　处：《贵州大学学报（艺术版）》2019年第3期33-40,共8页Journal of Guizhou University Art Edition

基　　金：国家社科基金项目“丝绸之路沿线眉户戏语言与民俗研究”(项目编号:18BYY070);陕西省社会科学基金古籍整理和研究项目(项目编号:2015S005)

摘　　要：眉户小曲是在明清俗曲的基础上吸收本地或外地的曲调逐步形成的。它从单一但已定型的“全月调”发展至“月背调”“平调”,前两者还属于“小曲”的范畴。到了“平调”,小曲的写景抒情结构变得复杂,有些“平调”已具有“小戏”叙事特征。后来随着对外地曲牌的吸收,“月背调”容量增大,形成“杂调”,小戏发展定型。由于舞台演出的需要,小戏为了继续适应故事情节的发展成为“折戏”,最后在“折戏”的基础上具有了“本戏”的特征。由此,眉户戏曲的发展和曲牌的伸缩变化有直接关系。Meihu ditty emerged gradually from folk songs in Ming and Qing dynasties by absorbing other local and foreign melodies. It evolved from the homogeneous yet fixed “quan-yue” melody into that of“Yue-bei” and “Ping” with the former two as “ditties” while “Ping melody” already acquired the narrative features of “playlet”. Later with the absorption of the foreign tunes,“Yue-bei melody” becomes more comprehensive as the “miscellaneous melodies” and thus the playlet came into being. Owing to the need of stage performance and catering to the plot development, the playlet evolved to be “Zhe-xi”(excerpt of drama) and later evolve the features of “Ben-xi”(the complete play). It is thus to claim the development of Menhu opera is directly related to the changes of tunes.

关 键 词：眉户 曲子 小曲 曲牌 眉户戏 

分 类 号：J825[艺术—戏剧戏曲]