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二簧腔是京剧唱腔的两种主要腔调之一(另一种是西皮腔),它与由其衍生的“反二簧腔”一起,对京剧唱腔的特点及其音乐风格起着至关重要的作用。但长期以来,我们对“二簧”一词的具体涵义还缺乏了解,对二簧腔形成地探讨亦存在认识上的误区。笔者经研究发现:“二簧”之初义是指两根弦的胡琴。“二簧腔”早期是清乾隆年间十分流行的“胡琴腔”的别名。今存京剧等剧种中的板腔体二簧腔不同于乾隆年间的“二簧腔”。我们对京剧中所唱的二簧腔形成地的探讨不应囿于今天的行政区划,而应联系京剧的传统演唱语音、有关的史料记载以及长江中下游地区的方言语音探讨其形成地。种种迹象表明,二簧腔可能形成于以鄂东北为中心的“楚语”方言区。
The two reed is one of the two main accent of Peking opera singing (the other is the Sipi cavity), together with the “anti-second spring chamber” derived from it, plays an important role in Peking Opera singing style and its musical style Role. However, for a long time, we have not understood the specific meaning of the word “second spring”, and there are also misunderstandings in the discussion of the formation of the second spring. The author found through research: “The beginning of the second spring” refers to the two strings of the violin. “Two spring chamber” is the early Qing Emperor Qianlong is very popular during the “cavity” alias. The present Beijing Opera and other operas in the plate chamber two spring chamber is different from the Qianlong years “two spring chamber.” The discussion of the formation of the two reeds in the Beijing Opera should not be confined to today’s administrative divisions. Instead, we should contact the traditional singing voices of Peking Opera, the historical records and the dialectal speech of the middle and lower reaches of the Yangtze River. There are indications that the second spring chamber may be formed in the “Chu language” dialect area centered on northeast Hubei.