| 昆曲曲调的组合形式考述 |
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| 引用本文： | 俞为民.昆曲曲调的组合形式考述[J].东南大学学报(哲学社会科学版),2006,8(1):94-101. |
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| 作者姓名： | 俞为民 |
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| 作者单位： | 南京大学中文系 江苏南京210093 |
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| 基金项目： | 教育部人文社会科学研究项目 |
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| 摘 要： | 昆曲的曲调有南北之分,其组合的形式有不同的特征。南曲有引子、过曲、尾声之分,按曲调的性质、结合版本同脚色与具体剧情来组合;北曲沿袭了元杂剧的曲调组合形式,但因昆曲上场脚色皆唱,其套式的稳固性受到削弱。昆曲南北曲合套的组合形式,实是受杂剧一人主唱的影响,北主南从。
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| 关 键 词： | 昆曲 南曲 北曲 曲调组合 |
| 文章编号： | 1671-511X(2006)01-0094-08 |
| 修稿时间： | 2005年9月25日 |
A study on composite forms of Kunqu tunes |
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| YU Wei-min.A study on composite forms of Kunqu tunes[J].Journal of Southeast University(Philosophy and Social Science ),2006,8(1):94-101. |
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| Authors: | YU Wei-min |
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| Abstract: | The tunes of Kunqu are classified into the north tune and the south tune with different characteristics for each composite form.The south tune which has a complete form pays more attention to specific plots and characters while the north tune mainly follows the composite form of the local Yuan opera.The composite form of the north tune and the south tune of Kunqu which is greatly influenced by the local Yuan opera adopts the north tune as the dominant form with the south tune as the supplement. |
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