论早期淮剧音乐传播过程中的文化语境——以东路[淮调]为例  

On the Early Development of Huai Opera

作　　者：李曦[1] LI Xi(School of Music, Yancheng Teachers University, Yancheng, Jiangsu, 224007, China)

机构地区：[1]盐城师范学院音乐学院,江苏盐城224007

出　　处：《盐城师范学院学报（人文社会科学版）》2021年第4期102-110,共9页Journal of Yancheng Teachers University（Humanities & Social Sciences Edition)

基　　金：江苏省社会科学基金项目“盐阜地区地方民歌的保护与发展研究”(18YSB014)。

摘　　要：东路[淮调]是[淮调]传播过程中的一个变化阶段。早期[淮调]表演中的即兴演唱与表演场地的频繁流动,推动了东路[淮调]的发展。观众欣赏习惯中的同根性与差异性,促进了东西路[淮调]的融合。东路[淮调]的出现源于淮安和盐城两地之间频繁的音乐交流,它的传播则是基于两地观众在音乐结构上的共性审美习惯。淮剧音乐的创新离不开传播与流变,不同的地域音乐文化、艺术风格产生碰撞与融合,从而使原曲调获得新的发展。The Eastern Style Huai tune is a transient stage in the process of Huai tune transmission.The Eastern Style Huai tune developed on the basis of improvisation and road show in the early period.The similarity and difference of the aesthetic habits of the audience promoted the integration of Eastern and Western Style Huai tunes.Its appearance stemmed from the frequent music exchanges between Huai’an and Yancheng.Its transmission was based on the common aesthetic habits of the audience of the two cities.Its innovation is the result of communication and development.Different regional music cultures and artistic styles mix and integrate,so as to make the tune continue to develop.

关 键 词：淮剧 东路[淮调] 音乐传播 调性特征 曲体结构 流变 

分 类 号：J617.5[艺术—音乐]