粤乐唱响上海滩(上)——从文化变迁视角论广东音乐驻沪成因(1867—1949)

Cantonese Yue Music Popular in Shanghai from 1867 to 1949: Facts and Causes

文章以新知、已知资料及未入学界"法眼"的夏利柯钢琴作品《粤调》(1931)为立论之基,论粤乐何以在上海唱响并形成风潮的历史之"因";该题以"唱"表述"粤乐"响于上海滩,其"唱"含"奏"义,并进一步质言:其亦包含演、表、创,并与粤剧、粤曲多有联带而形成一体四面(唱、奏、演、创);由于粤乐曲目创作年代、唱片灌录时刻等历史讯息年深日久,尤其沪上粤乐团体到底有多少已成谜团,但这是面对此题必须解决而至今未能解决的问题。文章重点:1.自夏氏创作出《粤调》,开钢琴国乐风先河,却淡出抑或根本无人理会,形成学界一大怪;2.为何浙江嵊县人任光创作出粤乐风《彩云追月》?其人在沪,又会携带出哪些上海风?3.粤乐文化整体迁移上海滩后的增容、变容,是为文章的重中之重。

Since Harry Ore published his piano piece Yuediao （South China Fantacy The Lady and the FlowerseUer） in 1931, Cantonese （Guangdong） yue music had been spread in Shanghai, promoted by countless bands of yue music active at the occasions of entertainment, movie, and re- cording industries. The author tries to summarize the facts that caused the phenomena and, mean- while, discusses the contributions of Ore, Ren Guang and others.