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黄梅戏的早期唱腔曲调主要分属于采茶戏、花鼓戏、莲花落和渔鼓道情系统,它们各自有不同的来源。安庆宿松、湖北黄梅、江西九江、南昌等地流行的采茶戏同属一类,它们由采茶歌(或采茶调)发展而来,在明末清初已经形成了一个皖、鄂、赣采茶戏流行圈;花鼓戏源于说唱曲艺,与花鼓、灯戏以及采茶戏等歌舞表演密切相关,对黄梅戏有相当的影响;“道情”和“莲花落”分别出于道家乐曲和佛教音乐,为早期黄梅戏艺人所吸收,并溶入黄梅戏唱腔中。不同的唱腔曲调来源表明,黄梅戏存在明显的“多祖现象”。
The main part of the melody in the early stage of the Huangmei opera belongs to the tea-picking opera, flower-drum drama, lotus flower drop and drum drum sentiment system, each with different sources. Anqing Susong, Hubei Huangmei, Jiangxi Jiujiang, Nanchang popular tea-picking opera belong to the same category, they are from the tea song (or picking tea tune) developed from the late Ming and early Qing Dynasty has formed a Anhui, Hubei and Jiangxi tea picking opera Popular circles; drums from the rap opera, and drums, light theater and tea-picking opera and other song and dance performances are closely related to the Huangmei opera have a considerable impact; “Taoist” and “Lotus fall ” were from the Taoist music and Buddhist music, For the early Huang Mei opera artists absorbed, and dissolved into the Huangmei opera singing. The different sources of tunes in the aria show that there is a clear “multi-ancestral phenomenon” in the Huangmei opera.