摘要
针对束文寿先生提出的"京剧声腔源于与京剧具有渊源关系的陕西二黄剧种"的新理论,文章提出了质疑,展开了讨论,认为陕西二黄戏是汉剧的一个分支,在历史上并没有直接影响过京剧及其声腔的形成,"陕西二黄戏是产生京剧的母体"的结论及一系列主张,基本上没有什么事实依据,缺乏应有的科学精神与严肃态度,特别是完全忽视了大批优秀汉调(汉剧)演员陆续进京演出和对京剧形成的不可磨灭的巨大贡献的这一历史事实,忽视了汉调(汉剧)音乐(皮黄腔)对京剧声腔的形成所做出的不可磨灭的巨大贡献这一历史事实。
About the sayings that ＂the vocal tune of Beijing opera originated from Shaanxi＂ and ＂that originated from the Erhuang in Shaanxi, which had long historic relationship with Beiiing opera＂ by Shu Wenshou, the essay disagreed them and held that what the origin of Beijing opera were Huiju, Hanju, Kunqu, Qinqiang and Jingqiang, as well as the influence of civil-music in popular. The process of Beijing opera coming into being is clearly that accepted historian circle, it could not be negated if there were not enough convincing evidence and proof.
出处
《黄钟（武汉音乐学院学报）》
CSSCI
北大核心
2011年第1期134-143,共10页
Huangzhong:Journal of Wuhan Conservatory of Music
关键词
京剧
声腔
来源
研究
Beijing opera, vocal tune, origin, erhuang, discuss
