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周贻白先生在撰写《中国戏剧史》时,对中国戏曲各个部门的发展都做了专门的研究。在戏曲音乐方面,他针对音乐这一戏曲极为重要的组成部分,认真考查了戏曲音乐的发展流变,提出了许多不同于前人的看法。此外,他还针对元人燕南芝庵所著的《唱论》、明人魏良辅的《曲论》、明末清初人李渔的《闲情偶寄·演习部》和戏曲界流传的手抄秘本《明心鉴》等涉及戏曲演唱和音乐的专著,分别进行了注释和辨析,并有自己精彩的见解和发挥。在此基础上,周贻白先生从历史的衍变和地域的流播上,将中国剧种声腔划分为“昆、高、梆、黄、柳”五大类别,并在配乐及具体演唱方法上进行了详细甄别。
When writing the History of Chinese Theater, Mr. Zhou Yi Bai made a special study on the development of various departments of Chinese opera. In the field of opera music, he made an extremely important part in the drama of music, carefully examining the development and evolution of opera music and putting forward many different opinions from his predecessors. In addition, he also directed scholar Yan Nam Shrine’s “Singing”, Ming Wei Liang Fu’s “Theory”, the late Ming and early Qing Li Yu’s “Leisure Femine send exercises” and the opera world Copying the “Ming Xinshikan” and other monographs involving opera singing and music, respectively, were annotated and differentiated, and have their own wonderful insights and play. On this basis, Mr. Zhou Yi Bai divided the soundtracks of Chinese operas into five categories of “Kun, Gao, Wei, Huang, Liu” on the basis of historical changes and geographical spread, and carried out detailed descriptions on soundtrack and specific singing methods Screening.