摘要
南曲集曲自明初刘兑始,及至晚明,文人曲家出于炫才的目的,更是推动了集曲的发展。晚明时,南曲集曲形态更是丰富多样,而其产生原因主要在于文人曲家的推动,其在形态上主要为两曲集合形式;而且当时文人曲家对其所进行的格律订正,主要着眼于曲牌的文学性,而将音乐性放在第二位;但是当时关于集曲的认识,已经对这种刻意炫才的做法进行了批判。
From the beginning of Liu Dui in the early Ming dynasty to the late Ming dynasty,literati artists aimed at showing off their talents,which promoted the development of jiqu.In the late Ming dynasty,the forms of the southern qu collection were more abundant and diverse because of the efforts by literati and writers with the form of two piece set.They mainly focused on the literariness of qupai and put the musicality in the second place when they modify the arias.But at that time,such as this performance to flaunt ability deliberately has been criticized based on people’s understanding about jiqu.
出处
《浙江艺术职业学院学报》
2019年第3期69-75,共7页
Journal of Zhejiang Vocational Academy of Art
基金
国家社会科学基金重大项目“古本散曲集成”阶段性成果。(项目编号:15ZDB074)。
关键词
晚明
南曲集曲
形态
the late Ming dynasty
southern qu collection
form
