粤剧引入小提琴之滥觞与小提琴“头架”形式首现考  

How was the Violin Popularized in Cantonese Opera and When was Its First Appearance as the Opera’s “Heading Instrument”

作　　者：黄轲[1] HUANG Ke

机构地区：[1]上海戏剧学院电影学院,上海200040

出　　处：《音乐艺术（上海音乐学院学报）》2022年第3期158-171,共14页Art of Music(Journal of the Shanghai Conservatory of Music)

摘　　要：百年前,广东粤剧从乡村扩展至大城市时发生整体时尚质变,并开创了以小提琴为首的、中国戏曲乐队引用西洋乐器的历史。但这一开创,产生于中国社会深刻变革背景下的沪粤两地文化关系之中。其中粤剧乐队小提琴“头架”形式的滥觞,是上海精武体育会与中华音乐会的弦乐教师司徒梦岩所创立的梵铃伴唱粤曲模式,后此模式被其学生尹自重与吕文成所传承;其头架形式的首现,是在1926年12月28日至31日的上海大戏院,尹自重自港抵沪,连续四晚使用该乐器为旅沪薛觉先的粤剧表演领衔唱和。因此,1926年12月28日是粤剧乐队小提琴“头架”现象发生之始,也是西洋乐器进入中国戏曲乐队的发端之日。Extending from villages to big cities, Cantonese opera became a fashion in nature as a whole, especially headed by the violin, together with other Western instruments for Chinese xiqu opera accompanying ensembles. This fashion started between the cultural relations of Shanghai and Canton in the deep reform background of Chinese society. This article tackles the case of the violin accompanying the Cantonese singing, created and succeeded as a new tradition in this opera.

关 键 词：粤曲 粤剧乐队 小提琴“头架” 中华音乐会 司徒梦岩 尹自重 

分 类 号：J607[艺术—音乐]