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作 者:李壮 LI Zhuang(College of Liberal Arts,Tibet University,Lhasa 850000,China)
出 处:《河南科技学院学报(社会科学版)》2025年第1期68-76,共9页Journal of Henan Institute of Science and Technology
基 金:湖南省哲学社会科学基金青年项目“清代湖南地方礼乐文献研究”(21YBQ065),主持人:戴甜。
摘 要:曲牌体作为音乐与文学相结合的体裁,由于现实艺术需求与文学审美而产生了曲艺、戏曲双路径的发展。从民间说唱曲艺来看,曲牌兼容了诸多民间音乐并沿着文词俗化的方向构建了中国音乐叙事文学体系;从戏曲艺术的产生与成熟发展来看,曲牌的音乐体制随着多地方文化的需求而呈现适应性改变。对曲牌体音乐文学的研究分析,可同时兼顾文与艺的双重理念,既能够从传统的“文”的书写中寻求讲好中国故事的文化内涵,也可以从“艺”的展现中发掘传播好中国声音的形式表现。Tune pattern,as a genre combining music with literature,has developed along dual paths of folk art(quyi)and operatic art(xiqu)due to practical artistic demands and literary aesthetics.From the perspective of folk singing and storytelling(quyi),tune pattern incorporates various folk music and constructs a narrative literary system within Chinese music,following a path rooted in folk texts.From the emergence and mature development of operatic art(xiqu),the musical structure of tune pattern adapts to the needs of diverse regional cultures.The research and analysis of musical literature based on tune names can simultaneously accommodate the dual concepts of literature and art,allowing for the exploration of cultural connotations in telling Chinese stories well through traditional literary composition,as well as the discovery of expression forms in effectively disseminating the voice of China through artistic presentation.
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