论潮剧、梨园戏《陈三五娘》的音乐特色  

On the Musical Characteristics of Chen San Wu Niang in Teochew Opera and Liyuan Opera

作　　者：刘富琳[1] LIU Fu-lin(College of Music and Dance,Guangzhou University,Guangzhou,Guangdong 510006)

机构地区：[1]广州大学音乐舞蹈学院

出　　处：《汕头大学学报（人文社会科学版）》2019年第10期33-41,95,共10页Journal of Shantou University(Humanities and Social Sciences Edition)

基　　金：广东省哲学社会科学2014年规划课题(GD14CYS01)

摘　　要：《陈三五娘》是流行于粤东潮汕、闽南泉厦漳及台湾等地闽南语方言区的一个民间爱情故事,戏曲搬演以潮剧、梨园戏为著。通过比较潮剧、梨园戏《陈三五娘》的音乐结构、人物唱腔和器乐曲牌等,探讨潮剧与梨园戏的音乐特色,发现潮剧《陈三五娘》的音乐与时俱进,偏于抒情;梨园戏的音乐固守传统,偏于古朴,具有明显的地域性特征,而此正是两剧种“同源异流”的魅力所在。Chen San Wu Niang is a folk love story popular in Chaoshan of eastern Guangdong,Quanzhou,Xiamen and Zhangzhou of southern Fujian and the Min dialect areas in Taiwan.It has been adapted into Teochew Opera and Liyuan Opera.By comparing the musical structure,character singing and instrumental music of these two adaptations,this paper finds that the musical characteristics of Teochew Opera move with the time and tends to be lyrical,while the musical characteristics of Liyuan Opera adhere to the simple and unsophisticated traditional style.Both of them have obvious regional characteristics,which is the charm of the two different operas with the same origin.

关 键 词：潮剧 梨园戏 陈三五娘 人物唱腔 器乐曲牌 音乐特色 

分 类 号：I605[文学—其他各国文学]