【摘要】：清代劇壇"花雅之爭"的重要結(jié)果之一是中國戲曲音樂體制由曲牌體獨擅天下轉(zhuǎn)變?yōu)橐园迩惑w結(jié)構(gòu)占據(jù)主導(dǎo),戲曲音樂完成了兩大曲體的過渡與交接,中國戲曲由此進入現(xiàn)代化發(fā)展歷程。在這一轉(zhuǎn)型過程中,傳統(tǒng)南北曲包含板腔變化的曲牌聯(lián)套音樂體制,清代京腔帶有過渡痕跡的曲牌、板腔兼用體制,清代秦腔成熟的板腔變化音樂體制,及民間小戲逆向發(fā)展的音樂體制演變路徑,較為清晰地勾畫出中國戲曲音樂向現(xiàn)代轉(zhuǎn)化的發(fā)展軌跡。
[Abstract]:One of the important results of the "flower-elegance dispute" in the drama world of the Qing Dynasty was that the system of Chinese opera music changed from "qu-Pai" to "plate-cavity structure", and the opera music completed the transition and transition of the two major music styles. As a result, Chinese opera has entered the course of modernization. In the course of this transformation, the traditional north-south music includes the music system of the change of the board cavity, the song card with the transition mark in the Qing Dynasty, the system of the board cavity and the mature music system of the Qin cavity in the Qing Dynasty, and the music system of the Qing Dynasty and the Qing Dynasty. And folk drama reverse development of music system evolution path, more clearly delineated the transformation of Chinese opera music to modern development track.
【作者單位】： 武漢大學(xué)藝術(shù)學(xué)系;
【分類號】：J617

【共引文獻】

相關(guān)期刊論文 前10條

1 崔蘊華;從《聊齋俚曲》中“銀紐絲”小曲看明清民歌藝術(shù)的發(fā)展[J];安徽大學(xué)學(xué)報(哲學(xué)社會科學(xué)版);2002年03期

2 任泉香;朱z，

本文編號：2454345