摘要
《金瓶梅词话》所载述的戏曲史料中,有多处叙及早期南戏声腔海盐腔戏文演出状况。然学者在对这些史料的诠释上,观点时相抵牾。比较有代表性的,有周贻白、叶德均两家。周主海盐腔有管弦伴奏,叶主海盐腔是“无伴奏的干唱”。综合分析两家观点形成的依据,周氏所得结论比较中肯。海盐腔既吸取北曲格范,当亦有管弦乐伴奏。
In the historical materials of operas recorded in Jin Ping Mei Ci Hua,there are many places to describe the performance of Haiyan opera in the early southern opera. However,some scholars often have contradictory views on the interpretation of these historical materials. The more representative views are those of Zhou Yibai and Ye Dejun. Zhou thought that Haiyan tune had orchestral accompaniment,but Ye thought that the Haiyan tune was“ singing without accompaniment”. This paper comprehensively analyzes the basis for the formation of the views of the two scholars and believes that the conclusion drawn by Zhou is more pertinent. Since Haiyan tune has absorbed the style of Beiqu opera,it should be accompanied by orchestral music.
作者
肖阳
赵兴勤
XIAO Yang;ZHAO Xingqin
出处
《浙江艺术职业学院学报》
2021年第4期51-55,62,共6页
Journal of Zhejiang Vocational Academy of Art
关键词
海盐腔
管弦伴奏
《金瓶梅词话》
戏曲史料
Haiyan Tune
orchestral accompaniment
Jin Ping Mei Ci Hua
historical materials of traditional Chinese opera