论文部分内容阅读
“肘鼓子”作为山东省的本土戏曲形式,体现了山东人民的创造精神和艺术才情。在当地无论是戏曲艺人还是老百姓,都约定俗成地称“五音戏”“柳琴戏”等剧种为“肘鼓子戏”。同时也有不少文献明确提出并使用“肘鼓子声腔”一词。然就目前的学术成果来看,对“肘鼓子声腔”的整体性研究尚显匮乏,其历史发展轨迹尚不明确。笔者通过大量文献资料累读与田野工作调查,针对山东省境内的五音戏、柳琴戏、茂腔、柳腔等剧种在历史研究方面的成果进行归纳整理,力求从中梳理出“肘鼓子声腔”的历史发展脉络。
As an indigenous form of drama in Shandong Province, elbow drums reflect the creative spirit and artistic talent of the Shandong people. Whether in the local opera artists or people, are conventionally known as “five music ” “Liuqin opera ” and other operas as “elbow drum play ”. At the same time, many literatures have explicitly proposed and used the term “elbow drum cavity”. However, according to the current academic achievements, there is still a lack of overall research on the sound system of the elbow. The historical development of the system is still not clear. The author through a large number of literature reading and fieldwork survey, for the Shandong province five musicals, Liuqin opera, Mao chamber, Liu chamber and other drama in the historical research results are summarized, and strive to sort out the "The historical development context.