庐剧曲牌【打补缸】腔词关系研究  

Study on the Qiang-Ci Relationship of the Lu Opera Qupai【Dǎ Bǔ Gāng】

作　　者：曹红星 李暮凡 CAO Hongxing;LI Mufan(School of Education,Hefei University,Hefei 230601,China;School of Chinese Language,Literature and Art,Xinjiang Agricultural University,Urumqi 830052,China;School of Humanities,Tibet University,Lhasa 850000,China)

机构地区：[1]合肥大学教育学院,安徽合肥230601 [2]新疆农业大学中国语言文学与艺术学院,新疆乌鲁木齐830052 [3]西藏大学文学院,西藏拉萨850000

出　　处：《黄山学院学报》2025年第1期108-113,共6页Journal of Huangshan University

基　　金：合肥大学校级质量工程项目(2022hfuszsf03);安徽省高校人文社科重点项目(2023AH052152)。

摘　　要：曲牌【打补缸】作为东路庐剧花腔系统中的丑角专用曲牌,展现了庐剧“词为主,腔为次”的腔词关系构建理念,结合庐剧极为灵活且变化性较强的润腔方式,使得【打补缸】成为东路庐剧具有研究价值的代表性曲牌。从【打补缸】的腔词本体来看,其以相对常用的七字句式构建了依需求而定篇幅的应用实践模式。在曲调层面,曲牌【打补缸】呈现出的特征音级可通过自由转位和位移形成典型性窄腔音列,并以稳定的音列性质与合肥方言的调值特色形成了富有地域色彩的行腔特征与独特的腔词关系。As a special Choujue(buffoonet)Qupai(a type of traditional Chinese musical mode or melody used in operas and songs)in Donglu Lu opera(centered on the areas of Wuhu[in Jiangnan]and He County[along the Yangtze River])Hua Qiang system,【Dǎ Bǔ Gāng】demonstrates the constructing idea of the relationship between Qiang(tunes)and Ci(words)in Lu opera.Meanwhile,combined with Lu Opera’s extremely flexible and changeable way of enriching the cavity,【Dǎ Bǔ Gāng】has become a representative Qupai with research value.Viewing from the ontological perspective of Qiang and Ci in【Dǎ Bǔ Gāng】,it constructs an application-practice mode for a fixed textlength in accordance with the demand through the relatively common seven-Chinese character sentence pattern.In terms of the melody,the characteristic pitch levels of Qupai【Dǎ Bǔ Gāng】can form a typical narrow melodic sequence through free transposition and shifting,creating a unique melodic style.This sequence’s stability and the tone of Hefei dialect form a regional-flavored melodic style and unique Qiang-Ci relationship.

关 键 词：庐剧 腔词关系 曲牌 打补缸 

分 类 号：J607[艺术—音乐]