试论汤翁晚期剧作的曲调性格

汤翁晚期剧作《南柯记》和《邯郸记》的曲牌唱腔设计中,多借用北曲铿锵之音为主腔,表达出愤慨的音乐主题意义,特别是在开篇的唱腔设计上表现出一种固定的主腔模式,即以宋词豪放派常用的词牌作为自报家门,再以南正宫引子与仙吕入双调的套数结构为序曲,继而过曲插入北曲唱腔以形成铿锵震荡的音乐效果,从而表现出音乐情绪的激宕变化.

By Tang Xianzu Old Age Dramatic Work Music Disposition

The Tang Xianzu later period dramatic work "Nanke Dream" and "Handan Dream" in music design,borrows the northern melodies sonorous sound is the main cavity,expresses the indignation music subject significance,Specially displays one kind of fixed main cavity pattern in the introduction melody of an aria design,Namely identifies one's role when first coming on stage by the Song jambic verse bold faction commonly used names of the tunes of cipoetry achievement,Again south of the empress' palace actor's opening words and immortal Lu Rushuang moves the cycle of songs structure is an overture,subsequently crosses the tune insertion northern melodies melody of an aria to form the sonorous shake music effect,Thus displays music mood the violent dawdle change.