从[孟姜女调]到歌仔戏[七字调]——民歌戏曲化的文化考察  

From“ Meng Jiangnv Tune” to“ Seven-character Tune” of Gezi Opera——The Cultural Survey of the Dramatization of Folk Songs

作　　者：严永福[1] YAN Yongfu

机构地区：[1]淮阴师范学院音乐学院,江苏淮安223300

出　　处：《闽南师范大学学报（哲学社会科学版）》2023年第2期32-40,共9页Journal of Minnan Normal University:Philosophy and Social Sciences

基　　金：2019年国家社科基金后期资助项目(19FYSB020)。

摘　　要：[孟姜女调]随北方人民南迁入闽,其变体“七字仔”又随移民脚步“过台湾”,在当地交杂的社会环境下与客家民歌交互相融,出现了旋律形态的进一步变易,乐师的记谱、演奏习惯及伴奏乐器的定弦亦随之发生适应性改变。从[孟姜女调]到歌仔戏[七字调],是民歌在闽台特定的社会环境下传播、交融、发展并最终成长为戏曲唱腔的戏曲化过程。As Meng Jiangnv Tune moved to Fujian Province along with the people from the north,its variant“Qizizai”followed the steps to Taiwan region as well.Under the mixed social environment and influenced by Hakka folk songs,its form of the melody experienced further changes,and the notation,playing habits of its musicians and accompaniment instrument also had adaptive changes.The development from Meng Jiangnv Tune to Seven-character Tune of Gezi Opera is the process in which folk songs in the specific social environment of Fujian and Taiwan spread,blended,developed and eventually grew into the singing tune of opera.

关 键 词：[孟姜女调] 歌仔戏 [七字调] 客家民歌 

分 类 号：J617.5[艺术—音乐]