黄河流域曲家与明清时期的南曲北渐

集》)还曾同门人一直选订元剧六种 ,编成《改定元贤传奇》一书。不过由于他是北方人 ,难免长于北曲而短于南曲。概言之 ,“《宝剑记》所用腔调 ,是以流传到山东的海盐腔为主 ,又汲取本地土腔而成的一种混合形式。这种形式符合我国戏曲‘错用乡语’ ,随地滋发的流行特性 ,是有生命力的。”2 ]我们应该看到的 ,倒是作者在运用南北曲子配搭唱腔方面的成功之处。众所周知 ,北曲比较刚劲激越 ,南曲比较清闲委婉 ,而作者却很好地运用了曲调这一感情色彩。如三十七出《夜奔》 ,作者连用了《点绛唇》、《新水令》等九支北曲 ,描写林冲有国难投的心…

The Inflence of Southern Tunes To Norther Zaju in the HuangHe River Valley

During the three dynasties of Yuan, Ming, and Qing, the northern Zaju had much influence from the southern tunes,which is popular at the southern part of China. This article is a tentative study of this kind of influence and also the Combination of these two kinds of operas at that time. It holds the view that , on the one hand, the playuniters in the HuangHe River Valley had inherited much from the Southern tunes, and on the other hand, they had kept their own characteristics. In one word, they had much Coutribution to the development of the operas in the HuangHe River Valley.