平舆丝弦道与开封鼓子曲关系考
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摘要
作为河南省非物质文化遗产,平舆丝弦道和开封鼓子曲均在河南曲艺史上留下了灿烂辉煌的一笔。然而,二者之间的关系只在少量文献资料和老艺人口述中被一带而过,尚未引起学术界关注。根据对比分析,平舆丝弦道与开封鼓子曲的曲牌、曲体结构、演唱形式、伴奏乐器等方面存在联系,平舆丝弦道是在开封鼓子曲的基础上加入当地音乐特色发展而成的。
As the intangible cultural heritage in Henan Province,Pingyu String Music and Kaifeng Drum Tune had a splendid and brilliant history in Henan folk art forms. However,the relationship between the two has been only mentioned in a small amount of literature and the old artists' oral speaking,which has not attracted the attention of the academic community. According to the comparative analysis,Pingyu String Musicis related to Kaifeng Drum Tune in terms of its tunes,the structure of song,the singing form and the accompaniment instrument. Pingyu String Musicwas developed by adding the local music features on the basis of Kaifeng Drum Tune.
As the intangible cultural heritage in Henan Province,Pingyu String Music and Kaifeng Drum Tune had a splendid and brilliant history in Henan folk art forms. However,the relationship between the two has been only mentioned in a small amount of literature and the old artists' oral speaking,which has not attracted the attention of the academic community. According to the comparative analysis,Pingyu String Musicis related to Kaifeng Drum Tune in terms of its tunes,the structure of song,the singing form and the accompaniment instrument. Pingyu String Musicwas developed by adding the local music features on the basis of Kaifeng Drum Tune.
引文
[1]中国曲艺志河南卷编辑部.河南曲艺志史资料汇编:第2辑[M].郑州:中国曲艺志河南卷编辑部,1989.
[2]徐则挺.骥跃天中:驻马店[M].郑州:河南科学技术出版社,2011.
[3]张长弓.鼓子曲存[M].上海:听香室,1947.
[4]张长弓.鼓子曲言[M].上海:上海正中书局,1948.
[5]河南省文管局.河南民间音乐与舞蹈[M].开封:河南人民出版社,1954.
[6]中国曲艺志河南卷编辑部.河南曲艺志史资料汇编:第3辑[M].郑州:中国曲艺志河南卷编辑部,1990.
[7]冯彬彬.乐海拾贝:研究探索篇[M].北京:大众文艺出版社,2005.
[8]中国曲艺志河南卷编辑委员会.中国曲艺志:河南卷[M].北京:中国ISBN中心,1995.
[9]河南省文化厅文化志编辑室.河南省志:文化志[M].郑州:河南省文化厅文化志编辑室,1985.
[10]冯彬彬.河南大调曲子的源流与艺术特征[J].美与时代,2006(7下):74-75.
[11]丁辛秀,李长溪.大调曲子初探[M].郑州:河南省戏曲工作室,1983.
(1)指音乐结构由一系列音乐曲牌按照或紧或松的规则组合成不同的“套曲”。
(1)由于文字资料缺失以及两地方言等原因,笔者并未收集到二者的全部曲牌。
[2]徐则挺.骥跃天中:驻马店[M].郑州:河南科学技术出版社,2011.
[3]张长弓.鼓子曲存[M].上海:听香室,1947.
[4]张长弓.鼓子曲言[M].上海:上海正中书局,1948.
[5]河南省文管局.河南民间音乐与舞蹈[M].开封:河南人民出版社,1954.
[6]中国曲艺志河南卷编辑部.河南曲艺志史资料汇编:第3辑[M].郑州:中国曲艺志河南卷编辑部,1990.
[7]冯彬彬.乐海拾贝:研究探索篇[M].北京:大众文艺出版社,2005.
[8]中国曲艺志河南卷编辑委员会.中国曲艺志:河南卷[M].北京:中国ISBN中心,1995.
[9]河南省文化厅文化志编辑室.河南省志:文化志[M].郑州:河南省文化厅文化志编辑室,1985.
[10]冯彬彬.河南大调曲子的源流与艺术特征[J].美与时代,2006(7下):74-75.
[11]丁辛秀,李长溪.大调曲子初探[M].郑州:河南省戏曲工作室,1983.
(1)指音乐结构由一系列音乐曲牌按照或紧或松的规则组合成不同的“套曲”。
(1)由于文字资料缺失以及两地方言等原因,笔者并未收集到二者的全部曲牌。