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| 題 名 | 戲曲語音結構及其意義--以崑劇與潮汕戲曲歷史兩例說明=Structure and Significance of Traditional Chinese Opera Phonetics: Two Cases in the History of Kun Drama and Chaoshan Opera |
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| 作 者 | 吳夢雅; | 書刊名 | 香港大學中文學報 |
| 卷 期 | 3:1 2025.05[民114.05] |
| 頁 次 | 頁61-83 |
| 分類號 | 982.21 |
| 關鍵詞 | 聲腔; 腔調; 道白; 陰出陽收; 正字母生白字仔; 水磨腔; Singing melody; Singing pitch; Daobai; Opera speech; Yin chu yang shou; Yin tone start, yang tone ends; Zhengzi mu sheng baizi zai; Mandarin root words generate dialect derivative words; Shuimo qiang; Water-polished melody; |
| 語 文 | 中文(Chinese) |
| DOI | 10.30227/HKUJCS.202505_3(1).0003 |
| 中文摘要 | 戲曲語音結構可以分為聲腔或腔調層和道白層,聲腔與腔調的區別在於是否使用戲曲官話歌唱,使用戲曲官話歌唱的是聲腔,如崑山、弋陽腔等,使用方言歌唱的是腔調,如潮劇腔調等。道白既可以使用官話,也可用當地方言和其他地方方言。聲腔或腔調語音層與道白語音層有緊密的呼應關係,“陰出陽收”就是呼應的一種表現。如兩層之間的呼應不足,就會引起戲曲語音的整體變動。潮汕戲曲的發展歷史就是典型例證。 |
| 英文摘要 | The structure of traditional Chinese opera phonetics can be divided into shengqiang 聲腔 (melody) or qiangdiao 腔調 (tune) layer and daobai 道白 (opera speech) layer. The difference between shengqiang and qiangdiao lies in the use of language. Operas sung in Mandarin are designated as shengqiang, such as Kunshan qiang and Yiyang qiang, while operas sung in a dialect are described as qiangdiao, for example, Chaozhou diao. Daobai can be either Mandarin or local/non-local dialects. There are close connections between the two layers, as can be seen in the principle of "Yin chu Yang shou 陰出陽收 (Yin tone start, Yang tone ends)." When an insufficient connection appears, it will cause a change of the whole structure of opera phonetics. The historical evolution of Chaoshan opera can be a good example in this respect. |
本系統中英文摘要資訊取自各篇刊載內容。