作　　者： ;

机构地区： 中山大学人文科学学院中文系

出　　处： 《中山大学学报（社会科学版）》 2004年第4期77-81,共5页

摘　　要： 南戏四大声腔之一的弋阳腔属于曲牌体戏曲,但其曲牌构成,无论引子、尾声、联套都比较特殊,其功能与昆山腔相比,随意性较大。曲牌在使用方面较为混乱,往往有遗落、减省,甚至改调歌唱的特点,最终导致曲牌解体,这是弋阳腔由曲牌体戏曲向板腔体戏曲转化过程中的必然现象,其中,曲牌类的划分、宫调的出入互用、帮腔和滚调对曲牌的破坏等是重要原因。弋阳腔曲牌对板腔体形成的主要影响体现在板式的节奏变化上。 As one of the style of Qupai Operals (曲牌体戏曲) , Yi-yang Operal (弋阳腔) is worthy of special attention, for whose functions are different from Kun-shan Operal (昆山腔) in Yinzi(引子), Weisheng (尾声) and Liantao (联套). The use of Qupai (曲牌) of Yi-yang Operal was usually disordered, simple and tune-changing, which lead to the disintegration of Qupai. The classification of Qupai, the mutual use and exchange among Gongdiao (宫调), Bangqiang (帮腔) and the destruction of Gundiao (滚调) are common phenomena during evolution of the style of Banqiang Operal(板腔体戏曲).Thus the Qupai of Yi-yang Operal has great influence on the rhythm of operal's Banshi(板式).

关 键 词： 弋阳腔 曲牌 板腔体戏曲

领　　域： [文学]