山西中路梆子“收腔打挂”名实论

发布时间：2018-03-29 00:25

  本文选题：中路梆子　切入点：收腔　出处：《戏曲艺术》2017年03期

【摘要】："收腔打挂"是山西中路梆子前辈艺术家对传统伴奏艺术的口头性总结。由于这一词语的语音性特征以及方言传播带来的误读和歧义,在中路梆子文献中相继出现了"收签打挂""抽腔打挂""收腔打挂"等不同的文字记述,使之在当代成为了一个多义、多解、概念模糊的词语。通过对中路梆子伴奏艺术的考察,运用语言学的方法对该词进行学术规范,并阐明腔与挂以及收腔与打挂的关系和所指之义,从名与实的辩证关系对其概念与内涵进行重新诠释。立足"收腔打挂"所蕴含的简约逻辑,洞悉由腔、挂关系衍生而出的形态多样、复杂多变的传统伴奏艺术。
[Abstract]:It is the oral summary of the traditional accompaniment art by the artists of Shanxi Zhonglu Bangzi. Due to the phonetic characteristics of the word and the misreading and ambiguity brought about by the spread of dialects, In the literature of Zhonglu Bangzi, there are many different written descriptions, such as "receiving and hitting hanging", "pumping and hitting hanging", "closing cavity and hanging", and so on, which makes it become a polysemy, multi-interpretation, and vague concept in contemporary times. Through the investigation of the accompaniment art of Zhonglu Bangzi, The use of linguistic methods to regulate the term, and to clarify the relationship between the cavity and hang, as well as the relationship and meaning between closing and typing. This paper reinterprets its concept and connotation from the dialectical relation between name and reality. Based on the simple logic contained in "closing cavity and hanging up", we can understand the various forms and complex and changeable traditional accompaniment art derived from the cavity and the relationship between them.
【作者单位】： 山西大学音乐学院;
【基金】：山西省艺术规划课题“山西中路梆子腔、挂关系研究”(项目编号:2016B11)
【分类号】：J617.5
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本文编号：1678749