| 论明至清初曲依“活腔”、“定腔”填词 |
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| 引用本文： | 许莉莉. 论明至清初曲依“活腔”、“定腔”填词[J]. 东南大学学报(哲学社会科学版), 2010, 12(6) |
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| 作者姓名： | 许莉莉 |
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| 摘 要： | 不少人认为,到了明代,曲渐渐律化,文人创作都是照格律谱填词。这种说法虽有一定道理,但不排除存在误解,以为南北曲曲牌在明代便已僵死,音乐几乎已经亡去,只有曲牌格律遗存;文人填词只能参照格律谱,而歌工度曲只能依字声行腔。事实并非如此,这只是部分文人的做法造成的假象——他们因不甚知乐而依赖于曲谱。实际上,直至清初,制曲之道始终是"依腔填词"——此"腔"是"活腔",且是"定腔"。
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| 关 键 词： | 明清 南北曲 活腔 定腔 |
The relationship between words and tunes of non-dramatic songs in Ming and early Qing Dynasties |
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| XU Li-li. The relationship between words and tunes of non-dramatic songs in Ming and early Qing Dynasties[J]. Journal of Southeast University(Philosophy and Social Science ), 2010, 12(6) |
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| Authors: | XU Li-li |
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| Abstract: | It is generally believed that the qu writers in the Ming dynasty followed the regular poetic forms strictly in composing non-dramatic songs.This conclusion is misleading in some degree.Some composers relied on set tunes because they were ignorant of music.The more popular way of composing songs in that period was to add words to different tunes. |
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