在明、清两代戏曲声腔十分兴旺发达的皖南地区,明末清初,当地的昆弋腔与北方传入东南地区的乱弹腔汇合之后,相互吸收、融合,形成了梆子秧腔和梆子乱弹这两种颇具影响的声腔。浙江的乱弹声腔虽在不同程度上有一些差别,但大都是以三五七、二凡两种腔调为主,并包括乱弹尖、芦花、平板、拨子等腔调。这些腔调构成了一个乱弹声腔,简称乱弹腔。 In the southern part of Anhui Province, where the sound of the operas in the Ming and Qing dynasties was very thriving, after the confluence of the local Kunyi chamber and the chaotic bombs in the southeastern part of the north, they absorbed each other and merged to form the poplar seedling chamber and the slug of bullets These two influential sound cavity. Although there are some differences in the degree of chaos in Zhejiang, there are two kinds of accent mainly in 357 and 2, and include acupuncture points, aloe, flat plates and plectrums. These tones constitute a chaotic sound chamber, referred to as chaos chamber.