本文選題：中路梆子　切入點：收腔　出處：《戲曲藝術(shù)》2017年03期

【摘要】："收腔打掛"是山西中路梆子前輩藝術(shù)家對傳統(tǒng)伴奏藝術(shù)的口頭性總結(jié)。由于這一詞語的語音性特征以及方言傳播帶來的誤讀和歧義,在中路梆子文獻中相繼出現(xiàn)了"收簽打掛""抽腔打掛""收腔打掛"等不同的文字記述,使之在當代成為了一個多義、多解、概念模糊的詞語。通過對中路梆子伴奏藝術(shù)的考察,運用語言學的方法對該詞進行學術(shù)規(guī)范,并闡明腔與掛以及收腔與打掛的關(guān)系和所指之義,從名與實的辯證關(guān)系對其概念與內(nèi)涵進行重新詮釋。立足"收腔打掛"所蘊含的簡約邏輯,洞悉由腔、掛關(guān)系衍生而出的形態(tài)多樣、復雜多變的傳統(tǒng)伴奏藝術(shù)。
[Abstract]:It is the oral summary of the traditional accompaniment art by the artists of Shanxi Zhonglu Bangzi. Due to the phonetic characteristics of the word and the misreading and ambiguity brought about by the spread of dialects, In the literature of Zhonglu Bangzi, there are many different written descriptions, such as "receiving and hitting hanging", "pumping and hitting hanging", "closing cavity and hanging", and so on, which makes it become a polysemy, multi-interpretation, and vague concept in contemporary times. Through the investigation of the accompaniment art of Zhonglu Bangzi, The use of linguistic methods to regulate the term, and to clarify the relationship between the cavity and hang, as well as the relationship and meaning between closing and typing. This paper reinterprets its concept and connotation from the dialectical relation between name and reality. Based on the simple logic contained in "closing cavity and hanging up", we can understand the various forms and complex and changeable traditional accompaniment art derived from the cavity and the relationship between them.
【作者單位】： 山西大學音樂學院;
【基金】：山西省藝術(shù)規(guī)劃課題“山西中路梆子腔、掛關(guān)系研究”(項目編號:2016B11)
【分類號】：J617.5
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本文編號：1678749