汉剧曲牌音乐对南北曲的继承与发展  

Inheritance and Development of Han Opera Qupai Music in the Northern and Southern Drama Music

作　　者：欧阳亮[1,2] Ouyang Liang(School of Arts,Hubei University of Education;Hubei Cultural Industry and Economic Research Center,Hubei University of Education,Wuhan,Hubei,430000)

机构地区：[1]湖北第二师范学院艺术学院,湖北武汉430000 [2]湖北第二师范学院湖北文化产业经济研究中心,湖北武汉430000

出　　处：《民族艺术研究》2023年第6期23-35,共13页Ethnic Art Studies

基　　金：国家社科基金艺术学重大项目“新中国成立70周年中国戏曲史(湖北卷)”(项目批准号:19ZD07)的阶段性研究成果。

摘　　要：汉剧是中国板腔体戏曲皮黄声腔的代表性剧种之一,同时也深受古代南北戏曲曲牌体音乐的滋养。依循传统曲学方法对汉剧曲牌进行分析,可知其与宋元明以来的南北曲词式、乐式有不可忽视的紧密联系,末句腔式的一脉相沿亦是对南北曲“定板”传统的坚守。汉剧曲牌音乐投射出戏曲由曲牌体结构体制转向板腔体结构的过程,受南北曲音乐传统的影响,皮黄腔实现了南、北戏曲音乐风格的深度融合。Han Opera is one of the representative genres of Chinese Banqiang style theater,which is characterized by tunes of Xipi and Erhuang style.It has also been deeply influenced by the ancient musical traditions of the Northern and Southern drama music.By employing traditional musicological methods to analyze the music of Han Opera,it becomes evident that there is an undeniable connection between its lyric and musical forms and those of the Southern and Northern drama music since the Song,Yuan,and Ming dynasties.The continuity of the“Last Sentence”style represents a steadfast adherence to the established traditions of the Northern and Southern drama music.Han Opera Qupai music reflects the transition in theatrical music from the Qupai-style structural system to the Banqiang-style structural system.Under the influence of the Northern and Southern drama music tradition,tunes of Xipi and Erhuang successfully achieved a profound fusion of styles from both northern and southern drama musics.

关 键 词：汉剧曲牌 南北曲 词式 乐式 腔式 结构体制 

分 类 号：J825[艺术—戏剧戏曲]