明代曲學(xué)家沈?qū)櫧椀乃穆暢ㄕ?/H1>
發(fā)布時(shí)間：2018-08-16 16:09
【摘要】：沈?qū)櫧検敲鞔钪匾那鷮W(xué)理論家之一,是繼魏良輔之后曲學(xué)發(fā)展史上又一個(gè)里程碑式的人物。平、上、去、入四聲是漢語(yǔ)言獨(dú)具的語(yǔ)音要素,自南朝沈約等人對(duì)四聲加以總結(jié)以來(lái),后世詞曲家都對(duì)四聲與歌唱的關(guān)系問(wèn)題投以了相當(dāng)?shù)年P(guān)注。沈?qū)櫧椩谇叭苏撌龌A(chǔ)上結(jié)合自己的唱曲經(jīng)驗(yàn),在其著作《度曲須知》中詳細(xì)分析了唱曲中平、上、去、入四種聲調(diào)的具體唱法。他在這方面的探索和論述構(gòu)建起了昆曲演唱中字音、口法的基本規(guī)范,一方面遠(yuǎn)紹曲圣魏良輔,一方面又對(duì)后世徐大椿等曲學(xué)家影響深遠(yuǎn),不僅在當(dāng)時(shí),而且一直到現(xiàn)在,都對(duì)舞臺(tái)上的戲曲演唱有非常重要的指導(dǎo)作用。
[Abstract]:Shen Congsui is one of the most important music theorists in Ming Dynasty and a milestone figure in the history of qu science after Wei Liangfu. Since Shen Yue et al in the Southern Dynasty summed up the four sounds, later songwriters have paid considerable attention to the relationship between the four sounds and singing. On the basis of his predecessors' exposition, Shen Congsui analyzed in detail the specific singing methods of four kinds of tones in his works, "the Notes on the degree of songs". His exploration and discussion in this respect set up the basic norms of the Chinese characters and pronunciation in the singing of Kunqu Opera. On the one hand, he had a profound influence on qu San Wei Liangfu, on the other hand, he had a profound influence on the later generations, such as Xu Dachun, and so on, not only at that time, but also up to the present. Both of them have a very important role in guiding the performance of the opera on the stage.
【基金】：2009年度教育部人文社會(huì)科學(xué)重點(diǎn)研究基地重大項(xiàng)目“中國(guó)昆曲音樂(lè)研究”的研究成果之一,項(xiàng)目編號(hào):JJD760002
【分類號(hào)】：J617
【相似文獻(xiàn)】
相關(guān)期刊論文 前4條
1 楊蓉;淺談戲曲伴唱的作用[J];中國(guó)戲劇;2004年02期
2 洛秦;昆曲[J];中文自學(xué)指導(dǎo);2004年01期
3 徐扶明;試論昆劇蘇白問(wèn)題[J];藝術(shù)百家;1989年01期
4 ;[J];;年期
，
本文編號(hào)：2186489
本文鏈接：http://sikaile.net/wenyilunwen/xijuwudaolunwen/2186489.html
[Abstract]:Shen Congsui is one of the most important music theorists in Ming Dynasty and a milestone figure in the history of qu science after Wei Liangfu. Since Shen Yue et al in the Southern Dynasty summed up the four sounds, later songwriters have paid considerable attention to the relationship between the four sounds and singing. On the basis of his predecessors' exposition, Shen Congsui analyzed in detail the specific singing methods of four kinds of tones in his works, "the Notes on the degree of songs". His exploration and discussion in this respect set up the basic norms of the Chinese characters and pronunciation in the singing of Kunqu Opera. On the one hand, he had a profound influence on qu San Wei Liangfu, on the other hand, he had a profound influence on the later generations, such as Xu Dachun, and so on, not only at that time, but also up to the present. Both of them have a very important role in guiding the performance of the opera on the stage.
【基金】：2009年度教育部人文社會(huì)科學(xué)重點(diǎn)研究基地重大項(xiàng)目“中國(guó)昆曲音樂(lè)研究”的研究成果之一,項(xiàng)目編號(hào):JJD760002
【分類號(hào)】：J617
【相似文獻(xiàn)】
相關(guān)期刊論文 前4條
1 楊蓉;淺談戲曲伴唱的作用[J];中國(guó)戲劇;2004年02期
2 洛秦;昆曲[J];中文自學(xué)指導(dǎo);2004年01期
3 徐扶明;試論昆劇蘇白問(wèn)題[J];藝術(shù)百家;1989年01期
4 ;[J];;年期
，本文編號(hào)：2186489
本文鏈接：http://sikaile.net/wenyilunwen/xijuwudaolunwen/2186489.html
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