闽剧“江湖”唱腔形成中的“北腔南调”

On "Northern Tune and Southern Tone" in the Formation of the Lyrics of the "Jianghu"

在明清时期特定的社会历史环境中,福建“江湖”班社兴起。在长期的发展衍变中,“江湖”一方面吸收了长乐、福清一带的童谣与小调,与福清、闽清的哭嫁歌有着相似的核心三音列与旋法特征;另一方面,也受到了江西高腔、傀儡戏,以及徽戏、京戏等唱腔的影响。在与其他戏曲之“腔”和民间歌曲之“调”的交融衍化中,“江湖”形成了特定的板腔风格与曲牌连接规律。

In the specific social and historical environment of the Ming and Qing Dynasties,Fujian"Jianghu"theatrical troupe has risen.In the long-term development,"Jianghu"absorbed the children's folk rhymes and minor tune of Changle and Fuqing,and similar to the core three-tone column and the spine feature of Fuqing and Minqing's crying wedding songs.On the other hand,it also received the influence of Jiangxi high tunes,puppet operas,and Hui opera and Beijing opera.In the blending with the"tune"of other operas and the"tone"of folk songs,"Jianghu"has formed a specific pattern of plate tune style.