【摘要】 “程腔”的得名与传播昭示着“音声共同体”的诞生，但不同地域、阶层、文化阵营所生成的“程腔”镜像并非完全一致甚至截然相反。从“鬼音”到“程腔”的名称转换蕴含着20世纪20年代北京、上海两地的文化差异；或“新”或“旧”的审美评价彰显出“程腔”在传统与现代之间的兼容与转化；“崇刚”或“尚柔”的价值取舍既是个人审美喜好，也与特殊年代的主流取向有关；而“悲音”的共鸣则极大拓展了“程腔”的接受面。“程腔”广远的影响力缘于其接受中差异与会通的共存，由此生成它与时代交往的独特情貌。更多还原

【Abstract】 The naming and dissemination of “Cheng Qiang”(Cheng Yanqiu’s Peking Opera singing style) signify the birth of a “community of melody and sound”, but the Cheng Qiang images generated by different regions, social classes, and cultural camps are not entirely consistent and may even be diametrically opposed. The name changed from “ghost singing” to “Cheng Qiang” owning to the differences in the cultural environments between Beijing and Shanghai in the 1920s. The aesthetic judgment of “new” versus “old” reflects how “Cheng Qiang” integrates and transforms between tradition and modernity. The choice of value between “upholding rigidity” and “advocating softness” is not only personal aesthetic preference, but also the mainstream orientation of the times. The resonance of “sorrowful singing” has greatly expanded the acceptance of “Cheng Qiang”. The far-reaching influence of “Cheng Qiang” arises from the coexistence of differences and integration in its acceptance, thereby generating its unique character in relation to the era.更多还原