论金元时期北曲套曲之内涵——兼及“尾”在其生成中的意义  

On the Connotation of Beiqu Suite in the Jin and Yuan Dynasties

作　　者：王梦萱 Wang Mengxuan

机构地区：[1]中央音乐学院,北京100031

出　　处：《南京艺术学院学报（音乐与表演版）》2023年第6期24-28,I0004,共6页Journal of Nanjing Arts Institute:Music & Performance

摘　　要：金元时期北方的散曲与杂剧总称北曲,在元代达到鼎盛期。至晚在金元初期散曲套数已然存活于民间阶段的具体实践中,就剧曲套数而言,元人虽注意到它与散套的差异,但更多是以文体作为二者区分的依据。“尾”从作为附加段落出现到成为具有独立意义的部分,对北曲套数的生成过程具有重要意义,是探赜金元北曲套曲不可或缺的一环。During the Jin and Yuan dynasties,the northern“sanqu”and“zaju”were collectively known as Beiqu,which reached its peak in the Yuan dynasty.At the beginning of the Jin and Yuan Dynasties,the repertoire of“sanqu”had already survived in the specific practice of the folk stage.As for the repertoire of drama music,although the Yuan people noticed the difference between it and“sanqu”,they mainly used literary style as the basis for distinguishing the two.The“ending”,from appearing as an additional paragraph to becoming an independent part,is of great significance for the generation process of the Beiqu Suite and is an indispensable part of exploring it in the Jin and Yuan Dynasties.

关 键 词：金元北曲 套曲 诸宫调 唱赚 尾 

分 类 号：I207.37[文学—中国文学]