论婺剧滩簧唱腔的结构特征

Structural Characteristics of Wu Opera Tanhuang Singing

婺剧滩簧系婺剧六大声腔之一,源于吴地滩簧,后因区域语音与文化之影响,逐渐变异生迁,衍生出"兰溪滩簧""金华滩簧"等各路分支。作为现今依然在民间旺盛繁兴的婺剧滩簧,其音乐特性、文化内蕴之于滩簧与婺剧何在?如何从音乐本体中分析、整理其神形风韵等,便成为本文之研究要义。文章以婺剧滩簧为对象,综合运用民族音乐学、音乐分析学等研究方法,梳源觅流、析音解体,从句式结构、板式结构、腔套结构等维度分析婺剧滩簧唱腔音乐之特性,通过对句式文体、词格腔韵、乐逗过门等的音乐分析,总结婺剧滩簧内部音乐之独特属性与风格。

Wu Opera Tanhuang, one of the six singings of Wu Opera, originated from Wu Tanhuang, gradually changed by the impact of regional sounds and culture to derived branches of ＂ Lanxi Tanhuang＂ , “Jinhua Tanhuang”,and so on. Still prosperous today among the people, the musical characteristics and cultural connotations of Wu Opera Tanhuang, which are different from Wu Opera and Tanhuang, and how to ana-lyze its content and form from the music ontology, etc. become the essence of the study. Using the combination of ethnomusicology and music analysis, this paper analyzes the music features of Wu Opera Tanhuangsinging from the dimensions of sentence structure, rhythmic structure and singing structure, and extracts WuOpera Tanhuang,s unique attributes and musical style by means of analyzing sentence style, words andrhymes, and stops and short interlude between verses.