明清笔记中的南京俗曲音乐研究

发布时间：2018-06-27 10:19

本文选题：明清笔记 + 南京俗曲　；参考：《南京艺术学院》2014年硕士论文

【摘要】：明末清初，北京政权交替，动荡不安，不少富豪权贵、名流俊贤纷纷带着钱财避难南京，与北京相比，此时的南都变得更加骄奢繁华。随着市民阶层的兴起，一些漕运繁荣的码头和城市，例如苏州、扬州等地兴盛着各种俗文化形式。而南京作为明朝留都，更是俗曲兴盛的核心城市——小曲、评话、戏曲、器乐等俗音乐品种大量涌现，各种俚俗、活泼的市井通俗歌曲在民间流传，纷繁争艳。南京因漕运便利、商贸发达而汇聚交融了各地的俗曲音乐，经过文人加工、艺人传唱后又通过人口的流动向不同地区播散开来，，因此整个江南地区甚至全国的俗音乐都在一定程度上受到南京俗曲的影响，可以说南京明清俗曲具有全国俗曲的代表特征。南京俗曲的历史存在情况，在顾起元的《客座赘语》、沈德符《万历野获编》、周晖《金陵琐事》、张岱的《陶庵梦忆》、余怀的《板桥杂记》、珠泉居士《续板桥杂记》捧花生《画舫余谭》、《秦淮画舫录》等多部明清笔记中有所记录。有关南京俗曲的种类、艺人的生平经历、音乐表演形式与内容等均可在这些笔记之中寻见。这也正是我们今天了解、认识和研究南京传统音乐之起源和发展的重要依据。本文将明清笔记中记载的南京俗曲分为小曲、评话、器乐、戏曲四大章节分别进行论述。通过对笔记的阅读和梳理，将相关的曲目、艺人名称辑录出来，并对当时的音乐表演形式进行合理分类，进一步厘清明清南京地区俗曲的真实存在情况。南京明清俗曲音乐不仅吸收了民间音乐质朴的音乐风格，同时也有文人的加工和创作，“雅”与“俗”兼属，演唱者除了市民以外，还出现了职业、半职业的艺人，因此它的娱人性更加突出。
[Abstract]:In the late Ming and early Qing dynasties, the regime of Beijing alternated, turbulent, many rich and powerful, celebrities and handsome people with money to take refuge in Nanjing, compared with Beijing, this time the South has become more arrogant and prosperous. With the rise of the citizen class, some cities and wharves, such as Suzhou and Yangzhou, flourished in various forms of vulgar culture. Nanjing, as the capital of Ming Dynasty, is the core city of popular music, such as Xiaqu, commentary, opera, instrumental music and so on. Nanjing, because of its convenient transport by water, developed commerce and commerce, converged and blended local folk music. After processing by literati, artists spread their songs to different regions through the flow of people. Therefore, the whole Jiangnan area and even the whole country's vulgar music are influenced to some extent by the Nanjing vulgar music, it can be said that the Nanjing Ming and Qing Dynasty vulgar music has the representative characteristic of the national vulgar song. The historical existence of Nanjing folk songs, In Gu Qiyuan's "visiting words", Shen Defu "Wanli Ye", Zhou Hui "Jinling trifles", Zhang Dai "Tao an Meng Yi", Yu Huai's "Banqiao Miscellaneous Notes", Zhu Quan's "continuous Banqiao Miscellaneous Notes", "Peanut", "Qin Huai painting", "Qin Huai painting" There are many records in the notes of Ming and Qing dynasties. The types of Nanjing folk songs, the life experiences of artists, the forms and contents of musical performances can be found in these notes. This is also an important basis for us to understand, understand and study the origin and development of Nanjing traditional music. In this paper, the Nanjing folk songs recorded in Ming and Qing Dynasty notes are divided into four chapters: Xiaqu, commentary, instrumental music and opera. Through the reading and combing of the notes, the relevant repertoire and the name of the artist are compiled out, and the forms of music performance at that time are classified rationally to further clarify the real existence of the folk songs in Nanjing in the Ming and Qing dynasties. The folk music of the Ming and Qing dynasties in Nanjing not only absorbed the simple musical style of folk music, but also the processing and creation of literati, "elegance" and "vulgarity". Besides the citizens, there were also professional and semi-professional artists. Therefore, its entertainment human nature is more prominent.
【学位授予单位】：南京艺术学院
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J607

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