【摘要】 东北大鼓是中国北方重要的说唱艺术形式，其唱腔体系在长期演变过程中形成了复杂多样的结构形态。针对以往研究多以流派或地域为线索、缺乏系统分类的问题，本文在田野调查所获一手音响、曲谱、艺人口述及文献整理的基础上，从传播范围、使用频率与叙事功能等方面，对东北大鼓唱腔进行系统梳理，将东北大鼓唱腔划分为“通用唱腔”与“辅助唱腔”两大类型，并在“辅助唱腔”内，进一步区分为“半通用唱腔”与“专用唱腔”。在此基础上，通过对不同地区短篇唱段与中长篇书目中唱腔使用情况的统计与分析，总结出东北大鼓唱腔在实际演唱中的基本运用方式。研究表明：东北大鼓唱腔体系并非松散并列的曲调集合，而是以“通用唱腔”构成基本结构框架，以“辅助唱腔”形成地域性的补充，并在实际演唱中根据叙事需要承担不同的音乐功能。这一结构既保证了东北大鼓在不同地区的整体统一性，也为其地方化发展提供了灵活空间。因此，本文试图解决两个问题：其一，如何从唱腔本体出发，对东北大鼓复杂多样的唱腔形态进行系统分类；其二，这些唱腔在实际演唱中如何承担不同的叙事与抒情功能。本文的研究有助于从音乐结构与叙事功能两个层面深化对东北大鼓唱腔体系的认识。更多还原

【Abstract】 Northeastern Dagu is an important form of narrative singing in northern China, whose vocal system has developed complex and diverse structural forms through a long process of evolution. Addressing the limitations of earlier studies, which have tended to focus on regional traditions or stylistic schools without offering a systematic classification, this article draws on primary audio recordings, musical transcriptions, performers’ oral accounts, and documentary sources collected through fieldwork to provide a systematic account of the vocal styles of Northeastern Dagu. Based on their geographical distribution, frequency of use, and narrative function, these vocal styles are classified into two major categories: "general vocal styles" and "auxiliary vocal styles", the latter are further divided into "semigeneral vocal styles" and "specialized vocal styles", on this basis, the article analyzes the use of vocal styles in short pieces as well as in medium-and long-length repertoires across different regions, and summarizes their basic patterns of application in actual performance. The study shows that the vocal system of Northeastern Dagu is not a loose aggregate of juxtaposed melodies, but a structured system in which the general vocal styles constitute the basic framework, while the auxiliary vocal styles serve as regionally specific supplements and assume different musical functions according to narrative needs in performance. This structure not only ensures the overall unity of Northeastern Dagu across regions, but also provides flexible space for local development. The article therefore addresses two central questions: how the diverse vocal forms of Northeastern Dagu may be systematically classified from the perspective of musical structure itself, and how these vocal styles fulfill different narrative and lyrical functions in performance. In doing so, it deepens understanding of the vocal-style system of Northeastern Dagu from the dual perspectives of musical structure and narrative function.更多还原