明末清初“楚调”的兴起及其声腔的衍化

发布时间：2018-03-15 22:27

本文选题：楚调　切入点：汉调　出处：《中山大学学报(社会科学版)》2015年06期 　论文类型：期刊论文

【摘要】：明万历间袁中道《游居gn录》记载了沙市新兴的戏曲声腔"楚调"。楚调并不是流行此地的青阳腔、弋阳腔或四平腔的别称,而是具有独立品格的一种戏曲"新声"。楚调广泛流传,经过清前期与秦腔、昆腔等"时调"的相互融合,至清中叶实现了与西皮调的合流,演化为皮黄声腔。楚调的名称逐步淡出,转而被称为"汉调"、"黄腔"。新的汉调成为汉剧、京剧等皮黄剧种的艺术母体。探寻楚调的源起及其早期形态,对于声腔史、剧种史及明清戏曲史的研究都具有重要意义。
[Abstract]:Yuan Zhongdao and Yu Ju gn record between the Ming Dynasty and Wanli recorded the new opera tune "Chu tune" in Sha City. Chu tune is not a popular Qingyang, Yiyang or Siping tune in this area. It was a kind of opera "new sound" with independent character. Chu tune was widely circulated. After the fusion of "time tune" with Qin Opera and Kun tune in the early Qing Dynasty, by the middle of Qing Dynasty, the combination of Chu tune and Xipi tune was realized. The name of Chu tone gradually faded out and was called "Han tune" and "yellow tune". The new Chinese tune became the art mother of the Chinese opera, Peking opera and other kinds of leather yellow opera. To explore the origin and early forms of Chu tune, as for the history of the Chinese tune, The history of drama and the history of opera in Ming and Qing dynasties are of great significance.
【作者单位】：中山大学中国非物质文化遗产研究中心、文化遗产传承与数字化保护协同创新中心;
【基金】：国家社会科学基金青年项目“明传奇佚曲辑录、整理与研究”(12CZW055);国家社会科学基金重点项目“新加坡藏‘外江戏’剧本的搜集与研究”(14AZW009) 中央高校基本科研业务费专项资金资助项目“明代戏曲选本研究”(13WKPY46)
【分类号】：J617

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