Fundamentally, drama comes from nongovernmental circles. As the literati joining into the creation and the performance of the drama, the development of drama takes on two threads: one is about literator's style; the other is about the folk style. Yi yang tune-patterns in Ming Dynasty is a major part during the process of the folk drama's development, following Nan Xi in Song and Yuan and opening the next period of all kinds of local dramas of "Hua Bu " in Qing Dynasty. That's of great value for us to recognize the essence and the rules of its development. According to the development and its characters of literati drama, this paper tries to turn up personal comprehending and discussion iowards the formation and the coming down of Ye yang tune-patterns, and also its art characters, the status and the values in the history of China drama. The author holds his opinion that the turning up of the notion of Yi yang tune-patterns' system is a misunderstanding towards the literature's recordation in Ming. The main reason why they made Nan Xi Sheng Qiang belong to Ye yang tune-patterns is the despising attitude towards folk dramas. In fact, Nan Xi Sheng Qiang is somewhat affected by widely-submitted Ye yang tune-patterns, but there is still substantial discrepancy on music idiosyncrasy between them. In the view of folk drama, Nan Xi Sheng Qiang has common cultural character and substantial discrepancy, so it is called Yi yang tune-patterns. Experiencing the three periods as following: the period of the drama of Nan Qu Xi Wen in Song and Yuan. Comparing the respective development of literati drama and folk drama, we can find the information of Yi yang tune-patterns during the process of the folk drama's development. At the same time, consulting the transmitting of literati drama, its development presents the characters of opening and variance. Except the its own peculiarity, the migration policy in Ming, the activities of businessmen and the customs are all the factors causing the widely transmitting of the Yi yang tune-patterns. All the art characters of Yi yang tune-patterns embodies the pursuing which takes drama as the noumenon. The pursuing makes the Yi yang tune-patterns not exclude the art form of elegance. In fact, in the performance of folk drama, the literati drama and the folk drama come to a combination of elegance art and vulgar art in some extent. And this helps the growing up of "Hua Bu " in Qing dynasty. With the infiltration of the folklore, religion and anthropology towards the area of drama study, the conception of drama academia changes. Folk drama turns up more and more in the views of the scholars. In such learning background, Yi yang tune-patterns plays more and more important role in the history of drama. In detail, Yi yang tune-patterns is the principal part and major factor in the development and revolution of drama. In the point of view in the history of drama, Yi yang tune-patterns is still the principal part in drama creation, performance and appreciation in Ming. Surpassing the category of art noumenon, we can combine the folklore and the religion with the study of Yi yang tune-patterns. It will help the drama history more abundant and vivid, and also enlarge the area of drama study.
【关键词 (中文/英文)】 弋阳诸腔; 文人戏曲; 民间戏曲; 戏曲史 Yi yang tune-patterns; literati drama; folk drama; history of drama
