从三个腔系探索苏州弹词音乐的起源

摘要

本文对苏州弹词唱腔中的三个腔系，即陈调、俞调、马调进行音乐分析，认为陈调和平湖调较为接近，可能为平湖调系统的一支；俞、马调同属徵调系统，与周围的宣卷因果有很大关系。俞、马调的区别不在骨干和核心曲调，而主要在歌唱；俞、马调中的过门有较强的宫调色彩，很可能受到“弹词家开场白之前，必奏‘三六’”的影响。通过分析可以推测，苏州弹词唱腔中的陈调建立在乾隆之前以平湖调系统为骨干的曲调上，乾隆之后，苏州逐渐取代杭州成为江南弹词的代表，曾占主流地位的平湖调影响逐渐缩小，而后出现了具有浓郁苏南（及苏北）色彩的俞调和马调，给苏州弹词音乐带来了新的色彩。苏州弹词音乐善于吸收融合，紧跟时代潮流，以听众的审美为创新出发点，特别是清末流入上海之后，苏州弹词音乐有了更大的发展，造就了苏州弹词丰富的唱腔和纷呈的流派。%This paper analyzes three tune systems in Suzhou Tanci, Chen Tune, Yu Tune and Ma Tune, and concludes that Chen Tune is close to Pinghu Tune, probably a branch of Pinghu Tune, while Yu and Ma belong to Hui Tune System.The difference between Yu and Ma lies in singing rather than structure or melody.The bridge passage of Ma Tune is influenced by Going Tune.After thorough research, Chen Tune was based on the system developed from Pinghu Tune before the reign of Qianlong.After that, Suzhou replaced Hangzhou as the representative of Jiangnan Tanci, and the previous mainstream Pinghu Tune was diminished.Yu and Ma with strong southern Jiangsu ( and northern Jiangsu) flavors flavored Suzhou Tanci which excelled in absorbing and infusion, keeping updated with the times, innovating based on audience ’ s aesthetics.Having been introduced to Shanghai, Suzhou Tanci witnessed a bigger leap and created even richer tunes and diverse schools.