摘要
一般认为,早期民间南戏的曲调并无格律,而从《张协状元》的曲调格律分析可以看出,近三分之一的曲调基本符合格律要求,近半数的曲调在创作时具有格律意识。在唱出场引子时、有才学的脚色演唱时、抒发人物内心情感时,早期南戏往往选择有格律的曲调进行创作。这些格律范式不仅仅来自于成熟的词调谱式,也是书会文人创作时对字声规律的运用和总结,一方面体现了民间曲调在南戏中的律化倾向,一方面也为文人南戏的律化提供了基础。
Generally, the early folk Nanxi(Southern Drama南戏). No rhythm, and from the analysis of Zhang Xie Zhuang Yuan; melody rhythm can be seen, nearly 1/3 tunes consistent metrical requirements, nearly half of the tune with consciousness in the creation of poetry. To express the characters inner feelings in singing, playing lead role when the talented singer, early Nanxi, often choose the melodies to create. The classical paradigm not only from mature tone spectral type, and will use the word literary creation rules and the summary, on the one hand reflects the folk tunes in the Nanxi law tendency, provides the basis for a law scholar Nanxi.
出处
《温州大学学报（社会科学版）》
2015年第6期34-45,共12页
Journal of Wenzhou University：Social Science Edition
基金
江苏省哲学社会科学基金项目(14YSC001)
关键词
《张协状元》
曲调格律
早期南戏
律化
Zhang Xie Zhuang Yuan(《张协状元》)
The melody Rhythm
Early Nanxi(Southern Drama 南戏)
Rhythmicalization
