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阅览汤显祖晚期创作的《南柯记》和《邯郸记》,总感觉到汤翁在消极的表象中,寄寓着某种不为人知的情怀。拙作《论汤显祖[邯郸记]曲牌唱腔音乐意义》(发表于2000年《抚州师专学报》第四期)也曾专门论述了这种音乐情怀,即多借北曲铿锵之音的穿插造成曲牌音乐主题的动荡,从而表现出音乐情绪的激宕难平的独特效果。本文重点谈论汤翁晚期创作的《南柯记》和《邯郸记》在开篇中的曲牌唱腔设计,以及所形成的汤翁晚年曲调性格问题。
Reading the late Tang Xianzu creation of “South Keji” and “Handan Ji”, always feel the tang weng in the negative appearance, send with some unknown feelings. Myth “On Tang Xianzu [Handan Kee] Tune music meaning” (published in 2000, “Fuzhou Teachers College,” the fourth period) has also specifically discussed this musical feeling, that is, by the North song sonorous sonorous tone caused by the song Music theme turmoil, thus showing the emotional excitement unique effect. This article focuses on the design of the tunes of the tunes in the opening of “Nan Ke Ji” and “Handan Ji” written by Tang Weng in the late period, and the formation of the tunes of Tang Weng’s later years.