摘要
泉州南音的传承基本上遵循了一个比较严格的规制,这种规制不仅深埋于馆阁文化,同样存在于具体的南音奏唱中,主要体现为"唱念法"。"指套"是南音音乐及文化中不可或缺的一大内容,《趁赏花灯》作为"五大套"之一,囊括了探声、"拈弓搭箭""藕断丝连"等难点,更丰富的体现了"唱念法"的精髓。通过对"指套"《趁赏花灯》"唱念法"的分析,发现南音曲词咬字中并无完全统一的标准,且对于工谱的"唱念法"有一定的规律及要求。
Quanzhou Nanyin heritage basically follows a strict regulation,the regulation not only buries deep in the pavilion culture, also exists in the concrete music playing concerts, mainly embodied in ＂method of Changnian＂.＂Zhitao＂ is an indispensable part of Nanyin music and culture,while the ＂Chen Shang Hua Deng＂ as the one of the ＂five sets＂ , include the exploration of sound,＂Nian gong da jian ＂, ＂Ou duan si lian＂ difficulties, essence more embodies the ＂method of Changnian＂. Through the ＂Zhitao＂Chen Shang Hua Deng＂＂method of Changnian＂ analysis, found in Nanyin words there is no uniform standard pronunciation, and for the spectrum ＂method of Changnian＂ has certain rules and requirements.
出处
《泉州师范学院学报》
2017年第5期101-107,共7页
Journal of Quanzhou Normal University
基金
泉州市社会科学规划项目(2016E16)
福建省社会科学规划项目(FJ2016C128)
关键词
泉州南音
趁赏花灯
唱念法
Quanzhou Nanyin, Chen Shang Hua Deng,Method of Changnian
