“把色”考

发布时间：2018-01-30 20:38

  本文关键词： 把色 曲破 杂剧 部色　出处：《兰州学刊》2017年03期 　论文类型：期刊论文

【摘要】：“把色”,原为宋教坊各种器乐演奏人员的总称,在承应演出时,主要用于各种大曲、曲破等歌舞和杂剧的伴奏。后来随着宋杂剧的逐渐发达,合歌乐舞一体的杂剧演出不断上升为主要娱乐节目,单纯地把色演奏地位逐渐下降。单纯地把色表演只有在杂剧两折演出之间进行补空,吹奏曲破。因杂剧中间已进行了曲破,所以在每折中间,不再运用曲破,而是迂回地采取了曲破的变体:缠达和赚词。
[Abstract]:"Bazhue", formerly the general name of various instrumental musicians in Song Jiefang, was mainly used for accompaniment of various songs, dances and zaju in Chengying performance. Later, with the gradual development of Song zaju. Song, music and dance into one of the zaju performance has been rising into the main entertainment program, the status of pure color performance gradually declined. Pure color performance only in the play between the two fold to fill the gap. Play break. Because the middle of the play has been broken, so in every break, no longer use the break, but detour to take a broken variant: tangled and earned words.
【作者单位】： 海南师范大学文学院;
【分类号】：I207.37
【正文快照】： 元明之间,曲破在传奇中的运用十分频繁,从[入破]至[出破]固定为七段体,(1)其中的[衮]对弋阳腔“滚唱”艺术形成了巨大影响。北曲虽然没有这种七段体的曲破,但是北曲和曲破的关系密切程度,实较南曲过之。吴自牧《梦梁录》卷二十“妓乐”条云: 杂剧中末尼为长,每一场四人或五人，

本文编号：1477179