本文選題：明清筆記 + 南京俗曲��； 參考：《南京藝術(shù)學(xué)院》2014年碩士論文

【摘要】：明末清初，北京政權(quán)交替，動蕩不安，不少富豪權(quán)貴、名流俊賢紛紛帶著錢財(cái)避難南京，與北京相比，此時(shí)的南都變得更加驕奢繁華。隨著市民階層的興起，一些漕運(yùn)繁榮的碼頭和城市，例如蘇州、揚(yáng)州等地興盛著各種俗文化形式。而南京作為明朝留都，更是俗曲興盛的核心城市——小曲、評話、戲曲、器樂等俗音樂品種大量涌現(xiàn)，各種俚俗、活潑的市井通俗歌曲在民間流傳，紛繁爭艷。南京因漕運(yùn)便利、商貿(mào)發(fā)達(dá)而匯聚交融了各地的俗曲音樂，經(jīng)過文人加工、藝人傳唱后又通過人口的流動向不同地區(qū)播散開來，，因此整個(gè)江南地區(qū)甚至全國的俗音樂都在一定程度上受到南京俗曲的影響，可以說南京明清俗曲具有全國俗曲的代表特征。 南京俗曲的歷史存在情況，在顧起元的《客座贅語》、沈德符《萬歷野獲編》、周暉《金陵瑣事》、張岱的《陶庵夢憶》、余懷的《板橋雜記》、珠泉居士《續(xù)板橋雜記》捧花生《畫舫余譚》、《秦淮畫舫錄》等多部明清筆記中有所記錄。有關(guān)南京俗曲的種類、藝人的生平經(jīng)歷、音樂表演形式與內(nèi)容等均可在這些筆記之中尋見。這也正是我們今天了解、認(rèn)識和研究南京傳統(tǒng)音樂之起源和發(fā)展的重要依據(jù)。 本文將明清筆記中記載的南京俗曲分為小曲、評話、器樂、戲曲四大章節(jié)分別進(jìn)行論述。通過對筆記的閱讀和梳理，將相關(guān)的曲目、藝人名稱輯錄出來，并對當(dāng)時(shí)的音樂表演形式進(jìn)行合理分類，進(jìn)一步厘清明清南京地區(qū)俗曲的真實(shí)存在情況。南京明清俗曲音樂不僅吸收了民間音樂質(zhì)樸的音樂風(fēng)格，同時(shí)也有文人的加工和創(chuàng)作，“雅”與“俗”兼屬，演唱者除了市民以外，還出現(xiàn)了職業(yè)、半職業(yè)的藝人，因此它的娛人性更加突出。
[Abstract]:In the late Ming and early Qing dynasties, the regime of Beijing alternated, turbulent, many rich and powerful, celebrities and handsome people with money to take refuge in Nanjing, compared with Beijing, this time the South has become more arrogant and prosperous. With the rise of the citizen class, some cities and wharves, such as Suzhou and Yangzhou, flourished in various forms of vulgar culture. Nanjing, as the capital of Ming Dynasty, is the core city of popular music, such as Xiaqu, commentary, opera, instrumental music and so on. Nanjing, because of its convenient transport by water, developed commerce and commerce, converged and blended local folk music. After processing by literati, artists spread their songs to different regions through the flow of people. Therefore, the whole Jiangnan area and even the whole country's vulgar music are influenced to some extent by the Nanjing vulgar music, it can be said that the Nanjing Ming and Qing Dynasty vulgar music has the representative characteristic of the national vulgar song. The historical existence of Nanjing folk songs, In Gu Qiyuan's "visiting words", Shen Defu "Wanli Ye", Zhou Hui "Jinling trifles", Zhang Dai "Tao an Meng Yi", Yu Huai's "Banqiao Miscellaneous Notes", Zhu Quan's "continuous Banqiao Miscellaneous Notes", "Peanut", "Qin Huai painting", "Qin Huai painting" There are many records in the notes of Ming and Qing dynasties. The types of Nanjing folk songs, the life experiences of artists, the forms and contents of musical performances can be found in these notes. This is also an important basis for us to understand, understand and study the origin and development of Nanjing traditional music. In this paper, the Nanjing folk songs recorded in Ming and Qing Dynasty notes are divided into four chapters: Xiaqu, commentary, instrumental music and opera. Through the reading and combing of the notes, the relevant repertoire and the name of the artist are compiled out, and the forms of music performance at that time are classified rationally to further clarify the real existence of the folk songs in Nanjing in the Ming and Qing dynasties. The folk music of the Ming and Qing dynasties in Nanjing not only absorbed the simple musical style of folk music, but also the processing and creation of literati, "elegance" and "vulgarity". Besides the citizens, there were also professional and semi-professional artists. Therefore, its entertainment human nature is more prominent.
【學(xué)位授予單位】：南京藝術(shù)學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J607

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