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文艺理论研究

文艺理论研究 ›› 2013, Vol. 33 ›› Issue (2): 94-102.

• 古代文论与古代文学的理论研究 • 上一篇    下一篇

诸宫调音乐叙事体制流变考论

盛志梅   

  1. 天津师范大学文学院
  • 出版日期:2013-03-25 发布日期:2013-05-01
  • 作者简介:盛志梅，天津师范大学文学院副教授，主要从事中国古代俗文学研究。
  • 基金资助:
    文为国家社科基金项目“中国说唱文学之发展流变”[项目编号: 05CZW005]的部分内容。

A Critical Investigation into the Evolution of Zhu Gongdiao's Musical Narrative Scheme

Sheng Zhimei   

  1. the School of Liberal Arts, Tianjin Normal University
  • Online:2013-03-25 Published:2013-05-01
  • About author:Sheng Zhimei is an associate professor in the School of Liberal Arts, Tianjin Normal University ( Tianjin, 300387, China), with research interests in the study of popular literature in ancient China.

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摘要： 诸宫调是一种在“诸般宫调”中唱“诸般曲调”的综合性音乐叙事艺术，主要流行于宋金元时期的市井民间。诸宫调音乐叙事体制的总体变化趋势是宫调使用渐少，曲调使用渐盛，由词体向曲体演化。作为一种民间说唱艺术，诸宫调既是变文以后的古弹词，又是戏剧的前身。她关联着书场和舞台两个表演场，其最终的曲体化，是其音乐叙事体制流变的必然结果。音乐体制不仅仅是诸宫调的外在表现形式，而且是其叙事的必备手段，是与其生命发展历程相始终的生存方式。

关键词: 诸宫调, 音乐叙事体制, 词体, 曲体化

Abstract: Zhu Gongdiao ("All-Mode Tune") is a composite musical narrative art, which shows as singing various modal tunes to various keys, and it was the popular folk opera form in the Song, Jin and Yuan dynasties. Musical narrative scheme of All-Mode Tune develops from decreasing use of keys to increasing use of modal tunes, and alongside this development is the change from lyrics-centred form to operatic form. As a folk art form, All-Mode Tune succeeded the ancient "Tanci" (chanting lyrics) after the "bianwen" (transformative text) and preceded the drama in the present form. Therefore, All-Mode Tune was associated with the two performance space of the circular chanting space and the stage, which evolved into the operatic form of drama as the inevitable result of the developing musical system. Musical scheme is not an external form of the All-Mode Tune but also an indispensible means of its narrative, and its evolution is its way of existence.

Key words: all-mode tune, musical narrative scheme, lyrics-centered form, operaticization of lyrics-centered drama