论晚清民国时期江南曲社之“曲唱”  

On the “Quchang” of Jiangnan’s Qushe in the Late Qing Dynasty and the Republic of China

作　　者：裴雪莱[1] PEI Xuelai

机构地区：[1]浙江传媒学院戏剧影视研究院,杭州310018

出　　处：《浙江艺术职业学院学报》2022年第4期36-43,共8页Journal of Zhejiang Vocational Academy of Art

基　　金：国家社科基金艺术学青年项目“清代至民国江南曲社”阶段性成果(项目编号:17CB181);中国博士后第62批面上资助项目“清代江南职业昆班研究”阶段性成果(项目编号:2017M621905)。

摘　　要：晚清民国时期江南曲社蔚然兴起的关键性环节在于曲社曲唱的充分展开和不断完善。曲社曲唱成为凝聚成员、展示技艺、切磋交流和扩大影响等诸多方面的关键性环节,既有明清以来清标高雅的文人清唱,也有哄传流俗的梨园剧唱,且能兼收二者而融之。总之,曲社曲唱成为衡量曲社水平高度、体现曲社技艺风格的标尺。不仅如此,曲唱方式、曲唱技艺、曲唱传承均有丰富的内涵和重要价值,对昆剧种声腔的保存传播意义非凡。In the late Qing Dynasty and the Republic of China, the key link for the rise of the Jiangnan Music Society was the full development and continuous improvement of the music society. Qushe’s singing has become a key link in many aspects such as cohesion of members, display of skills, exchange of ideas, and expansion of influence. There are not only elegant literati acapella since the Ming and Qing dynasties, but also Liyuan opera singing to coax popular customs and fuse them. In a word, the singing of the Qushe has become a yardstick for measuring the level of the music club and reflecting the style of the music club. Not only that, the way of singing, the skills of singing, and the inheritance of singing have rich connotations and important values, which are of great significance to the preservation and dissemination of Kunqu Opera’s various voices.

关 键 词：晚清民国 江南曲社 曲唱 

分 类 号：J818[艺术—戏剧戏曲]