论文部分内容阅读
对沈璟“合律依腔”理论应跳出习用的“汤沈之争”叙述范型，而纳入明中叶以来南、北曲隆衰兴替的文化史背景中解读。沈璟以“斤斤返古”为价值取向的曲学主张主要是对吴中新兴昆腔唱曲的全面反思；沈氏“中兴”举措的实质乃是他在尚北、崇元审美理想的支撑下，通过对南曲早期声律传统的总结性研究，以期吴中昆腔唱曲这一南曲“正声”能够秉承元明北曲有律可循、明腔识谱的传统。
Shen Jing’s theory of “conformity according to cavity” should jump out of the usual narrative paradigm of “Tang Shenzheng” and be interpreted in the cultural history background of the decline of South and North Quelongs since the middle of Ming Dynasty. Shen Qujing ’s music criticism based on the value orientation of “recklessness and return to ancient culture” is mainly a comprehensive reflection on Wuzhong’ s emerging Kunqu opera. The essence of Shen ’s “ZTE” move is his aesthetic ideal in Shangbei and Chongyuan With the help of the summary of the early Nanlu Quju tradition, Wuzhong Kunzou’s “Zhengzheng”, a song of southern Canto, is able to inherit the tradition of Yuan Ming Bei Qu, which has rules to follow.