中国戏曲唱腔曲体界定的“否定之否定”

The "Negation of Negation" of the Definition of Music form in Chinese Opera Singing

戏曲唱腔曲体界定,见于《中国大百科全书》的“‘板式变化体’说”、“‘板腔体’说”,问题多多。笔者拙著《戏曲乐谭》除沿袭上述“‘板腔体’说”外,还草率地附合过似是而非的“‘综合体’”说”。兹撰拙文试将一反以上在国内外影响近半个世纪的陈言,取笔者经口耳相传所得之湘黔戏种唱腔为主例,以曲牌为纲,按曲牌体、曲牌板式变化体、集曲板式变化体系列,对戏曲唱腔曲体界定予以“否定之否定”,力求名实相符、接近真理,促进中国音乐学学科建设之健康发展,竭力争取国人以尽可能形成共识的学术话语,参与国际学术交流活动,力免贻笑大方……

The definition of the music form of opera arias is found in the item ＂ variational style ot Ban-shi＂ and the item of ＂Banqiangti＂ in Chinese Encyclopedia. There is something the matter. In the paper, ＂Discourse Upon Opera Music＂, of the writer＇s, he followed the saying ＂Banqiangti＂ as the above, besides he curtly echoed the specious saying ＂Zongheti＂ （sytheses）. Now he tries to object to the above hackneyed expressions that have influenced China and the world for about half a century. Taking the arias of Hunan and Guizhou operas as main examples, which the writer collected personally, taking ＂Qupai＂ （ names of tunes） as guiding principles, and according to the system of ＂Qupaiti＂ （musical forms）, ＂Qupai banshi bianhuati＂ （ Variational style of tune names and music rhythm） and ＂Jiqu banshi bianhuati＂ （ Variational style of music collection and music rhythm）, the writer uses ＂negation of negation＂ to define Chinese opera arias and music forms. And he tries to make the names match reality and to go close to truth. He also tries to put forward nice development in Chinese musicology, to put forward academic terms that reach a possible compromise in the Chinese people. So that the Chinese people can take part in international academic activities without being a laughingstock.