【摘要】："肘鼓子"作為山東省的本土戲曲形式,體現(xiàn)了山東人民的創(chuàng)造精神和藝術(shù)才情。在當?shù)責o論是戲曲藝人還是老百姓,都約定俗成地稱"五音戲""柳琴戲"等劇種為"肘鼓子戲"。同時也有不少文獻明確提出并使用"肘鼓子聲腔"一詞。然就目前的學術(shù)成果來看,對"肘鼓子聲腔"的整體性研究尚顯匱乏,其歷史發(fā)展軌跡尚不明確。筆者通過大量文獻資料累讀與田野工作調(diào)查,針對山東省境內(nèi)的五音戲、柳琴戲、茂腔、柳腔等劇種在歷史研究方面的成果進行歸納整理,力求從中梳理出"肘鼓子聲腔"的歷史發(fā)展脈絡。
[Abstract]:As the local opera form of Shandong Province, Elbow Drum embodies the creative spirit and artistic talent of Shandong people. In the local opera artists or ordinary people, they are commonly known as "Wuyin drama," Liu Qin drama "and other operas called" elbow drum play. " At the same time, there are a lot of literature explicitly put forward and used the term "elbow drum vocal cavity". However, according to the present academic achievements, the research on the integrity of "elbow drum vocal cavity" is still lacking, and its historical development track is not clear. Through a large amount of literature and field work investigation, the author summarized and sorted out the historical research achievements of Wuyin Opera, Liu Qin Opera, Maoxiang Opera, Liu cavity Opera and so on in Shandong Province. Strive to sort out the "elbow drum voice" the historical development of the context.
【作者單位】： 中國音樂學院音樂學系;
【基金】：2014年國家社科基金藝術(shù)學重點項目“中國傳統(tǒng)音樂聲腔研究”(項目編號:14AD004)的階段性成果
【分類號】：J617.5

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