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歷史淵源

桐(tong)(tong)(tong)城(cheng)(cheng)(cheng)(cheng)歌(ge)(ge)(ge)(ge)，起源(yuan)應上溯至唐(tang)以前的歷(li)史時期。到了明(ming)代，桐(tong)(tong)(tong)城(cheng)(cheng)(cheng)(cheng)歌(ge)(ge)(ge)(ge)開始編印(yin)成(cheng)書，《明(ming)代雜曲(qu)(qu)集》里采集桐(tong)(tong)(tong)城(cheng)(cheng)(cheng)(cheng)歌(ge)(ge)(ge)(ge)25首。明(ming)代著名(ming)文(wen)學(xue)家(jia)馮(feng)夢龍的《山(shan)歌(ge)(ge)(ge)(ge)》辟專卷“桐(tong)(tong)(tong)城(cheng)(cheng)(cheng)(cheng)時興歌(ge)(ge)(ge)(ge)”，錄桐(tong)(tong)(tong)城(cheng)(cheng)(cheng)(cheng)歌(ge)(ge)(ge)(ge) 24首，并謂之：“鄉(xiang)俚(li)傳(chuan)誦(song)”。桐(tong)(tong)(tong)城(cheng)(cheng)(cheng)(cheng)歌(ge)(ge)(ge)(ge)，起源(yuan)于(yu)“桐(tong)(tong)(tong)城(cheng)(cheng)(cheng)(cheng)派”的故鄉(xiang)——安徽桐(tong)(tong)(tong)城(cheng)(cheng)(cheng)(cheng)市的一(yi)種(zhong)地方民(min)(min)(min)(min)歌(ge)(ge)(ge)(ge)，是(shi)當地勞動人民(min)(min)(min)(min)集體口頭創作的一(yi)種(zhong)韻文(wen)形式的民(min)(min)(min)(min)間(jian)文(wen)學(xue)，又是(shi)一(yi)種(zhong)融詞、曲(qu)(qu)、表演為一(yi)體的綜合(he)藝術(shu)。桐(tong)(tong)(tong)城(cheng)(cheng)(cheng)(cheng)歌(ge)(ge)(ge)(ge)是(shi)傳(chuan)統(tong)民(min)(min)(min)(min)間(jian)歌(ge)(ge)(ge)(ge)謠之一(yi)種(zhong)。桐(tong)(tong)(tong)城(cheng)(cheng)(cheng)(cheng)地區傳(chuan)統(tong)民(min)(min)(min)(min)間(jian)文(wen)學(xue)類(lei)有“鞭打蘆花、孔雀東南飛、桐(tong)(tong)(tong)城(cheng)(cheng)(cheng)(cheng)歌(ge)(ge)(ge)(ge)、六尺巷(xiang)傳(chuan)說、徽州(zhou)民(min)(min)(min)(min)謠、徽州(zhou)楹聯匾額”等6項；民(min)(min)(min)(min)間(jian)音樂(le)類(lei)有“五河民(min)(min)(min)(min)歌(ge)(ge)(ge)(ge)、皖(wan)西大別山(shan)民(min)(min)(min)(min)歌(ge)(ge)(ge)(ge)、壽州(zhou)鑼鼓、金(jin)寨古碑(bei)絲弦鑼鼓、繁昌民(min)(min)(min)(min)歌(ge)(ge)(ge)(ge)、銅陵牛(niu)歌(ge)(ge)(ge)(ge)、貴池民(min)(min)(min)(min)歌(ge)(ge)(ge)(ge)、石臺唱曲(qu)(qu)、九(jiu)華山(shan)佛教音樂(le)、潛山(shan)彈腔。著名(ming)辭賦家(jia)---錫東刀客說：“桐(tong)(tong)(tong)城(cheng)(cheng)(cheng)(cheng)歌(ge)(ge)(ge)(ge)，是(shi)民(min)(min)(min)(min)間(jian)文(wen)化(hua)向辭賦進化(hua)的惟一(yi)特殊文(wen)化(hua)現象。”。

藝術特色

藝術形式

桐城(cheng)歌(ge)由山歌(ge)、民(min)謠(yao)、小調組成(cheng)(cheng)，具體類(lei)別(bie)可分為傳(chuan)說(shuo)、風(feng)土、時政、勞(lao)動、生(sheng)活、情愛(ai)、儀式、事理、趣味、燈歌(ge)、兒歌(ge)等。桐城(cheng)歌(ge)早在明(ming)代以(yi)前桐城(cheng)時興歌(ge)（情歌(ge)）就流(liu)布于湖(hu)北黃梅一帶(dai)和(he)江(jiang)浙(zhe)吳語(yu)地區，以(yi)其(qi)獨特的(de)七言(yan)(yan)五(wu)句(ju)式體式、委婉凝練的(de)語(yu)言(yan)(yan)、優美動聽的(de)曲調等藝術特色(se)，廣(guang)為傳(chuan)唱(chang)，乃至刊布成(cheng)(cheng)帙(zhi)（《明(ming)代雜曲集》及馮(feng)夢龍《明(ming)清民(min)歌(ge)時調集》均收錄(lu)桐城(cheng)歌(ge)）。不僅(jin)成(cheng)(cheng)為安徽歌(ge)謠(yao)盛行(xing)時期的(de)主要本土民(min)歌(ge)，而且還(huan)影響到(dao)湘、鄂、贛以(yi)及浙(zhe)西地區，歷史上形成(cheng)(cheng)了一種范圍廣(guang)泛(fan)的(de)“桐城(cheng)歌(ge)謠(yao)文化(hua)帶(dai)”，尤(you)其(qi)對黃梅戲的(de)形成(cheng)(cheng)和(he)發展，起到(dao)基因性孕育與(yu)塑造作用。

主要內容

桐(tong)城(cheng)(cheng)(cheng)歌(ge)--接江趨淮，河埠陸驛自古車水馬龍(long)，素(su)有“七(qi)省通衢”之稱。得(de)(de)天獨厚的(de)(de)地(di)理位置和悠久(jiu)的(de)(de)歷(li)史(shi)文(wen)化(hua)積(ji)淀，不僅(jin)造(zao)就(jiu)了(le)享譽(yu)文(wen)壇300年的(de)(de)桐(tong)城(cheng)(cheng)(cheng)派文(wen)學，還孕育出象民(min)(min)(min)間(jian)文(wen)學《桐(tong)城(cheng)(cheng)(cheng)歌(ge)》、民(min)(min)(min)間(jian)故事(shi)《六尺巷》和民(min)(min)(min)間(jian)音樂(le)《十番鑼(luo)鼓》等(deng)內容豐富(fu)、形式多樣的(de)(de)民(min)(min)(min)間(jian)民(min)(min)(min)族文(wen)化(hua)。《桐(tong)城(cheng)(cheng)(cheng)歌(ge)》自明(ming)代就(jiu)刊(kan)布成(cheng)帙(zhi)，馮夢龍(long)的(de)(de)《明(ming)清民(min)(min)(min)歌(ge)時(shi)調集》收錄(lu)桐(tong)城(cheng)(cheng)(cheng)歌(ge)25首(shou)，它是(shi)載入中國文(wen)學史(shi)的(de)(de)獨具特(te)色(se)的(de)(de)地(di)方民(min)(min)(min)歌(ge)，是(shi)中國歌(ge)謠發展(zhan)史(shi)上值得(de)(de)注(zhu)視的(de)(de)文(wen)化(hua)現(xian)象，獨創的(de)(de)七(qi)言五句式歌(ge)體(ti)和帶有鮮明(ming)地(di)方特(te)色(se)的(de)(de)情(qing)歌(ge)更(geng)是(shi)影響廣遠。

桐(tong)城(cheng)歌(ge)地(di)(di)理(li)(li)環境：桐(tong)城(cheng)市(shi)位于安徽省中(zhong)部(bu)偏西(xi)南(nan)，地(di)(di)處長江北岸、大別山東麓，東鄰廬江、樅陽兩縣(xian)，西(xi)連潛山縣(xian)，北接(jie)舒城(cheng)縣(xian)，南(nan)抵懷(huai)寧縣(xian)和安慶宜秀區。全市(shi)國土面(mian)積(ji)1644平(ping)方(fang)公里，耕地(di)(di)面(mian)積(ji)52.3萬畝，其中(zhong)水田47萬畝，旱地(di)(di)5.3萬畝，湖泊水面(mian)16.7萬畝桐(tong)城(cheng)地(di)(di)處亞熱帶季風(feng)型濕潤氣候區，氣候溫(wen)和，日照充足(zu)，雨水充沛(pei)，四季分明。境內(nei)礦藏豐富，初(chu)步探明的(de)有石墨、礬、花崗石、大理(li)(li)石、銅、鐵等(deng)10余(yu)種，受(shou)國家保護的(de)珍稀動物有金(jin)錢(qian)豹、穿山甲、水靈貓、水獺、江豚、白(bai)鶴(he)、巨蜥等(deng)，珍稀植(zhi)物有銀杏、金(jin)錢(qian)松、鵝掌楸(qiu)、杜仲等(deng)，藥(yao)用植(zhi)物多(duo)達200余(yu)種。學者張友(you)茂(mao)先(xian)生評價道(dao)：“桐(tong)城(cheng)得天獨厚的(de)自然環境，是桐(tong)城(cheng)民歌(ge)人(ren)文靈氣所在。”。

桐(tong)城(cheng)(cheng)(cheng)(cheng)(cheng)歌(ge)(ge)社會條件：桐(tong)城(cheng)(cheng)(cheng)(cheng)(cheng)市(shi)系(xi)對外開(kai)放城(cheng)(cheng)(cheng)(cheng)(cheng)市(shi)，全國(guo)商品糧基地(di)，國(guo)家級科技(ji)工(gong)作先進市(shi)，全國(guo)農村能源綜合建設縣（市(shi)）和(he)全國(guo)鄉鎮(zhen)企(qi)業百強（縣）市(shi)，市(shi)區(qu)(qu)為省級歷史(shi)文(wen)化(hua)名城(cheng)(cheng)(cheng)(cheng)(cheng)，全國(guo)衛生城(cheng)(cheng)(cheng)(cheng)(cheng)，設有(you)國(guo)家星火密集區(qu)(qu)和(he)經濟(ji)技(ji)術開(kai)發區(qu)(qu)。桐(tong)城(cheng)(cheng)(cheng)(cheng)(cheng)日益成為海(hai)內外有(you)識之士投資興業的(de)(de)熱土(tu)。安(an)慶作為安(an)徽沿(yan)江(jiang)城(cheng)(cheng)(cheng)(cheng)(cheng)市(shi)，實質上(shang)處在“兩淮(huai)以(yi)至江(jiang)南”的(de)(de)中(zhong)心，借長江(jiang)的(de)(de)溝聯(lian)，其與蘇、浙、贛、鄂等省的(de)(de)沿(yan)江(jiang)地(di)區(qu)(qu)聯(lian)系(xi)極密，文(wen)化(hua)面貌呈開(kai)放態勢。在明、清之際(ji)，安(an)徽所出的(de)(de)歌(ge)(ge)謠可(ke)由此(ci)(ci)傳播到外省外地(di)，外省外地(di)所產生的(de)(de)歌(ge)(ge)謠也(ye)可(ke)傳人此(ci)(ci)地(di)，并(bing)由此(ci)(ci)發散(san)至皖(wan)中(zhong)各處。故，史(shi)載明清之際(ji)民歌(ge)(ge)盛行，桐(tong)城(cheng)(cheng)(cheng)(cheng)(cheng)歌(ge)(ge)是那(nei)個特定地(di)區(qu)(qu)的(de)(de)獨有(you)現象(xiang)，以(yi)安(an)慶為中(zhong)心、“兩淮(huai)以(yi)至江(jiang)南”為范(fan)疇---“明清之際(ji)開(kai)放的(de)(de)民間歌(ge)(ge)謠文(wen)化(hua)帶”。

桐城(cheng)(cheng)歌歷史悠久：因桐城(cheng)(cheng)文(wen)(wen)(wen)風昌(chang)盛(sheng)，為江淮文(wen)(wen)(wen)化圈的(de)(de)發祥(xiang)地和集中地。早在春秋時代，即(ji)稱桐國(guo)；公(gong)元757年正式(shi)建縣，歷時1200余年。其(qi)間人文(wen)(wen)(wen)勃興， 代有(you)英(ying)才。特別是明(ming)末以(yi)來桐城(cheng)(cheng)文(wen)(wen)(wen)化更是異峰突起，聲譽高漲(zhang)，域(yu)內(nei)產生了一(yi)大(da)批影響卓著的(de)(de)大(da)家名(ming)流，有(you)被(bei)譽為“十七世紀罕無倫(lun)比的(de)(de)百科全書派(pai)”大(da)學(xue)者方以(yi)智，有(you)以(yi)方苞，劉大(da)魁、姚鼐(nai)為代表(biao)，擁有(you)600 人之眾(zhong)，稱霸(ba)文(wen)(wen)(wen)壇200多年的(de)(de)作(zuo)家集團──桐城(cheng)(cheng)派(pai)； 近代又誕生了京(jing)師大(da)學(xue)堂總教習、清(qing)末大(da)儒吳汝倫(lun)，中國(guo)美學(xue)的(de)(de)奠基(ji)人朱光(guang)潛，新儒家代表(biao)方東美，辛亥(hai)革命(ming)灤州起義軍總司令施從云，前國(guo)家文(wen)(wen)(wen)化部長(chang)黃鎮，圍棋大(da)師劉棣懷，黃梅戲(xi)藝術家嚴鳳英(ying)等(deng)杰出人物(wu)。桐城(cheng)(cheng)也因此而成(cheng)為安徽省歷史文(wen)(wen)(wen)化名(ming)城(cheng)(cheng)，享有(you)“文(wen)(wen)(wen)都”盛(sheng)譽。

桐(tong)(tong)(tong)(tong)城(cheng)(cheng)歌(ge)(ge)(ge)：早期(qi)只是(shi)一(yi)(yi)種“手捧唱本”“邊看邊唱”，屬(shu)于一(yi)(yi)種音樂形式(shi)(shi)。當其發(fa)展到一(yi)(yi)定(ding)時(shi)(shi)期(qi)，則自(zi)然萌發(fa)了(le)一(yi)(yi)種文(wen)(wen)學需求---桐(tong)(tong)(tong)(tong)城(cheng)(cheng)辭賦(fu)。清桐(tong)(tong)(tong)(tong)城(cheng)(cheng)散文(wen)(wen)派，引發(fa)桐(tong)(tong)(tong)(tong)城(cheng)(cheng)歌(ge)(ge)(ge)文(wen)(wen)學求取的(de)欲望(wang)，網絡時(shi)(shi)代(dai)來臨，桐(tong)(tong)(tong)(tong)城(cheng)(cheng)歌(ge)(ge)(ge)得到了(le)全方位創造。作為(wei)音樂形式(shi)(shi)的(de)“桐(tong)(tong)(tong)(tong)城(cheng)(cheng)歌(ge)(ge)(ge)”則向文(wen)(wen)學形式(shi)(shi)---辭賦(fu)嬗變。桐(tong)(tong)(tong)(tong)城(cheng)(cheng)歌(ge)(ge)(ge)：據考證，上海古籍出(chu)版社出(chu)版的(de)《明清民歌(ge)(ge)(ge)時(shi)(shi)調集》[山歌(ge)(ge)(ge)]中就(jiu)有(you)大(da)(da)量的(de)桐(tong)(tong)(tong)(tong)城(cheng)(cheng)、安慶一(yi)(yi)帶的(de)方言用(yong)字及詞(ci)匯，如把“他”說(shuo)成(cheng)“咦”、把“哪”說(shuo)成(cheng)“羅”、把“睡”說(shuo)成(cheng)“困”、把“玩(wan)”說(shuo)成(cheng)“耍(shua)”、把“哪里(li)(li)”說(shuo)成(cheng)“羅里(li)(li)”、把“卷口”說(shuo)成(cheng)“轉口”，以(yi)及“家(jia)主公”（男性(xing)長輩）、“家(jia)主婆(po)”（女性(xing)長輩）、“淚直(zhi)鋪”（淚直(zhi)流）、“門角落里(li)(li)”（門后）等，就(jiu)有(you)“自(zi)江淮以(yi)至江南(nan)”的(de)歌(ge)(ge)(ge)謠一(yi)(yi)體化特(te)征(zheng)。正如辭賦(fu)大(da)(da)師(shi)---潘承祥先(xian)生云：“桐(tong)(tong)(tong)(tong)城(cheng)(cheng)歌(ge)(ge)(ge)，是(shi)孕(yun)育桐(tong)(tong)(tong)(tong)城(cheng)(cheng)賦(fu)派最(zui)豐厚的(de)人文(wen)(wen)土壤。”。

桐(tong)(tong)(tong)城(cheng)歌文(wen)(wen)學(xue)基因延續：桐(tong)(tong)(tong)城(cheng)，是中國(guo)文(wen)(wen)學(xue)史(shi)上(shang)最大的(de)散(san)文(wen)(wen)流(liu)派--桐(tong)(tong)(tong)城(cheng)派的(de)發祥地(di)(di)，著名(ming)黃(huang)梅(mei)戲(xi)表表演藝術家嚴鳳英的(de)故(gu)鄉。歷代英杰名(ming)士(shi)群(qun)星璀璨，素稱文(wen)(wen)化(hua)之鄉。桐(tong)(tong)(tong)城(cheng)境內(nei)，綿延百余里的(de)龍眠山，峰(feng)巒疊(die)翠，風(feng)(feng)光(guang)旖旎。歷史(shi)勝跡，瑰麗多姿。人文(wen)(wen)景觀(guan)與自(zi)然風(feng)(feng)光(guang)交(jiao)相(xiang)輝映(ying)，是人們旅游(you)觀(guan)光(guang)的(de)勝地(di)(di)。交(jiao)通(tong)便利，合（肥）九（江）鐵路，206國(guo)道和滬蓉高速(su)公路縱貫全境。桐(tong)(tong)(tong)城(cheng)歌：明中葉以后，“自(zi)兩淮(huai)以至(zhi)江南”民間(jian)歌謠之盛行。桐(tong)(tong)(tong)城(cheng)歌匯入(ru)這股(gu)洪流(liu)的(de)安(an)徽本土(tu)民歌，桐(tong)(tong)(tong)城(cheng)歌在“兩淮(huai)以至(zhi)江南”一(yi)帶風(feng)(feng)靡，勢必給江淮(huai)文(wen)(wen)化(hua)注入(ru)一(yi)種新的(de)活力，造成(cheng)(cheng)一(yi)種“共有”格(ge)局(ju)。以使得此一(yi)地(di)(di)域的(de)文(wen)(wen)化(hua)具(ju)有一(yi)種整(zheng)體風(feng)(feng)范，具(ju)有最大可能的(de)相(xiang)通(tong)與兼容(rong)，較少排它性，在一(yi)定意(yi)(yi)義上(shang)，使得黃(huang)梅(mei)（采茶）調流(liu)人安(an)徽不僅不遭拒斥(chi)，反而能與當地(di)(di)文(wen)(wen)化(hua)融為(wei)一(yi)體，受到最大限(xian)度地(di)(di)接納，并且最終造就了(le)(le)黃(huang)梅(mei)戲(xi)。同(tong)時作為(wei)民間(jian)歌謠本身，其廣泛流(liu)傳，“刊(kan)布成(cheng)(cheng)帙”、“舉世傳誦”。桐(tong)(tong)(tong)城(cheng)歌，成(cheng)(cheng)為(wei)黃(huang)梅(mei)調良(liang)好的(de)文(wen)(wen)學(xue)礦床，打破了(le)(le)音樂范疇的(de)黃(huang)梅(mei)調迅速(su)找(zhao)到文(wen)(wen)學(xue)依附，交(jiao)合碰撞互補再造，桐(tong)(tong)(tong)城(cheng)歌產(chan)生了(le)(le)屬于嚴格(ge)意(yi)(yi)義的(de)品(pin)種——黃(huang)梅(mei)戲(xi)。

桐城(cheng)歌：桐城(cheng)自(zi)(zi)古人(ren)文蔚起，號稱“文都”。由于(yu)文化底蘊(yun)濃厚、重教(jiao)傳統源遠流長，即便是山村野夫、小(xiao)(xiao)腳老(lao)(lao)(lao)太、幼稚小(xiao)(xiao)兒(er)，也能哼得幾段歌謠。搖(yao)籃曲、納(na)涼曲、逍遙曲，粗俗(su)中(zhong)帶著(zhu)(zhu)幾分真(zhen)(zhen)實，調侃(kan)中(zhong)帶著(zhu)(zhu)幾分勸導。“桐城(cheng)歌”風格獨特，體式結(jie)構自(zi)(zi)由活(huo)潑，方(fang)言和土語疊現，節奏揚抑疾(ji)徐，內容饒(rao)有(you)(you)情趣(qu)，真(zhen)(zhen)切地反映出(chu)黃(huang)梅戲的(de)“原生(sheng)態”：1、《火(huo)(huo)亮蟲，夜(ye)夜(ye)飛(fei)》：火(huo)(huo)亮蟲，夜(ye)夜(ye)飛(fei)，爹(die)(die)(die)(die)(die)(die)(die)爹(die)(die)(die)(die)(die)(die)(die)叫(jiao)(jiao)(jiao)我(wo)捉烏(wu)龜。烏(wu)龜沒(mei)有(you)(you)長毛(mao)，爹(die)(die)(die)(die)(die)(die)(die)爹(die)(die)(die)(die)(die)(die)(die)叫(jiao)(jiao)(jiao)我(wo)扯毛(mao)桃；毛(mao)桃沒(mei)有(you)(you)開花，爹(die)(die)(die)(die)(die)(die)(die)爹(die)(die)(die)(die)(die)(die)(die)叫(jiao)(jiao)(jiao)我(wo)扯黃(huang)瓜；黃(huang)瓜沒(mei)有(you)(you)落(luo)地，爹(die)(die)(die)(die)(die)(die)(die)爹(die)(die)(die)(die)(die)(die)(die)叫(jiao)(jiao)(jiao)我(wo)唱(chang)戲；唱(chang)戲沒(mei)有(you)(you)搭臺，爹(die)(die)(die)(die)(die)(die)(die)爹(die)(die)(die)(die)(die)(die)(die)叫(jiao)(jiao)(jiao)我(wo)爬(pa)柴(chai)(chai)；爬(pa)柴(chai)(chai)不夠爹(die)(die)(die)(die)(die)(die)(die)爹(die)(die)(die)(die)(die)(die)(die)燒，爹(die)(die)(die)(die)(die)(die)(die)爹(die)(die)(die)(die)(die)(die)(die)把我(wo)頭(tou)上(shang)打一(yi)個包。2、《小(xiao)(xiao)麻(ma)雞(ji)，上(shang)草堆(dui)》：小(xiao)(xiao)麻(ma)雞(ji)，上(shang)草堆(dui)。爹(die)(die)(die)(die)(die)(die)(die)爹(die)(die)(die)(die)(die)(die)(die)馱棍子(zi)打，奶(nai)(nai)奶(nai)(nai)燒水泡(pao)麻(ma)雞(ji)。爹(die)(die)(die)(die)(die)(die)(die)爹(die)(die)(die)(die)(die)(die)(die)吃（七(qi)）肉（育），奶(nai)(nai)奶(nai)(nai)啃骨，兒(er)子(zi)喝(he)湯，媳(xi)婦聞(wen)香。小(xiao)(xiao)伢小(xiao)(xiao)伢你莫哼，鍋里(li)還(huan)有(you)(you)一(yi)塊(kuai)小(xiao)(xiao)雞(ji)肫，拿(na)去(qu)和你（恩）小(xiao)(xiao)姑倆個人(ren)分。吃半(ban)邊(bian)，留半(ban)邊(bian)，留給奶(nai)(nai)奶(nai)(nai)床里(li)邊(bian)。老(lao)(lao)(lao)貓(mao)含（扛）到(dao)(dao)踏(ta)板上(shang)，老(lao)(lao)(lao)鼠含（扛）到(dao)(dao)屋檐邊(bian)，老(lao)(lao)(lao)哇(wa)叼到(dao)(dao)樹頭(tou)尖。奶(nai)(nai)奶(nai)(nai)好吃（七(qi)）哭三天，眼（俺）睛哭之燈盞大，嘴吧哭之歪半(ban)邊(bian)（踏(ta)板：床前放鞋(xie)的(de)隔(ge)板；老(lao)(lao)(lao)哇(wa)：烏(wu)鴉）。3、《肚(du)子(zi)痛》：肚(du)子(zi)痛，找(zhao)(zhao)老(lao)(lao)(lao)盛(sheng)；老(lao)(lao)(lao)盛(sheng)不在家（ga），找(zhao)(zhao)老(lao)(lao)(lao)張；老(lao)(lao)(lao)張家（ga）里(li)起著(zhu)(zhu)火(huo)(huo)，不找(zhao)(zhao)旁(pang)人(ren)就找(zhao)(zhao)我(wo)。4、《小(xiao)(xiao)女伢節韶撩撩》。5、《八(ba)角樹》：八(ba)爺(ye)門。

桐(tong)(tong)城(cheng)(cheng)(cheng)歌，入選世界(jie)民(min)歌首批(pi)非物質(zhi)文化遺產(chan)(chan)名(ming)錄（07年申報國家級）：安徽省首批(pi)省級非物質(zhi)文化遺產(chan)(chan)名(ming)錄公布，桐(tong)(tong)城(cheng)(cheng)(cheng)歌入選其中(zhong)的(de)民(min)間音樂類。桐(tong)(tong)城(cheng)(cheng)(cheng)素有(you)“民(min)歌之鄉”的(de)美譽。悠久(jiu)的(de)歷史，古老的(de)文化，優美的(de)自(zi)然(ran)環(huan)境造就了特(te)征多(duo)(duo)樣豐(feng)富(fu)多(duo)(duo)彩的(de)桐(tong)(tong)城(cheng)(cheng)(cheng)歌。內容豐(feng)富(fu)，有(you)生(sheng)產(chan)(chan)勞動類、日常生(sheng)活類、情歌類、頌歌類等(deng)(deng)，涉及到社會生(sheng)活的(de)各個方面；體裁(cai)多(duo)(duo)樣，有(you)山歌、號子、小調、秧歌、風俗禮(li)儀歌等(deng)(deng)；語言以三字(zi)句、五字(zi)句、七字(zi)句為多(duo)(duo)，大(da)多(duo)(duo)是口耳相(xiang)傳，語言樸(pu)實無華，通俗易懂，有(you)少部分唱(chang)詞典雅，比(bi)較講究音韻；繁(fan)昌民(min)歌雖然(ran)長短不一，但基本結構(gou)都比(bi)較完整；繁(fan)昌民(min)歌曲調豐(feng)富(fu)，唱(chang)法獨特(te)，無論從文學的(de)角(jiao)度或音樂的(de)角(jiao)度來(lai)審視，都極具珍貴的(de)藝術價(jia)值和(he)研究價(jia)值。桐(tong)(tong)城(cheng)(cheng)(cheng)非物質(zhi)文化遺產(chan)(chan)---國家級非物質(zhi)文化遺產(chan)(chan)，“桐(tong)(tong)城(cheng)(cheng)(cheng)歌申遺”是千秋大(da)計。

桐(tong)城歌，隨(sui)著(zhu)“徽劇”被列入首批國家非物質文(wen)化(hua)遺產(chan)(chan)(chan)名錄。明末清初，徽戲(xi)形成于安慶(qing)石牌、樅陽及桐(tong)城，其(qi)基礎是(shi)青陽腔(qiang)(qiang)、昆山腔(qiang)(qiang)，并由“桐(tong)城歌”產(chan)(chan)(chan)生梆子亂(luan)彈腔(qiang)(qiang)。康熙年(nian)(nian)間，“新奇疊出”吸(xi)引觀眾。乾隆年(nian)(nian)間產(chan)(chan)(chan)生“二黃調”。“四大(da)徽班(ban)”，充分說明桐(tong)城歌與江(jiang)淮(huai)戲(xi)曲(qu)(qu)文(wen)化(hua)、地(di)方劇種存在著(zhu)血緣關(guan)系。明人(ren)(ren)沈德(de)符在《顧曲(qu)(qu)雜言》云：“嘉(jia)、隆間乃興《鬧五更(geng)》《寄生草》《羅(luo)江(jiang)怨》《哭皇天》《干荷葉》《粉紅蓮》《桐(tong)城歌》《銀絞絲》之屬，自(zi)兩(liang)淮(huai)以(yi)至江(jiang)南，漸與詞曲(qu)(qu)相遠，不(bu)(bu)過寫淫(yin)媒(mei)情(qing)態，略具(ju)抑(yi)揚而已。比年(nian)(nian)以(yi)來，又(you)有《打棗干》《掛枝兒》二曲(qu)(qu)，其(qi)腔(qiang)(qiang)調約略相似，則不(bu)(bu)問(wen)南、北，不(bu)(bu)問(wen)男、女，不(bu)(bu)問(wen)老、幼、良、賤，人(ren)(ren)人(ren)(ren)習之，亦人(ren)(ren)人(ren)(ren)喜(xi)聽(ting)之，以(yi)至刊布成帙，舉世傳(chuan)誦，沁(qin)人(ren)(ren)心腑。”。

桐(tong)(tong)(tong)城(cheng)歌(ge)(ge)：鄉(xiang)戶田間(jian)村(cun)頭老人喲(yo)喝聲，是屬(shu)(shu)于(yu)(yu)桐(tong)(tong)(tong)城(cheng)歌(ge)(ge)的(de)范(fan)疇。桐(tong)(tong)(tong)城(cheng)歌(ge)(ge)，是桐(tong)(tong)(tong)城(cheng)的(de)歷史文化(hua)(hua)遺(yi)產。老子輩的(de)東(dong)東(dong)，似乎經我(wo)們(men)觸摸不(bu)到了。但(dan)，安徽(hui)(hui)省(sheng)(sheng)公(gong)布首批“非(fei)遺(yi)”名錄(lu)曰，納入(ru)了桐(tong)(tong)(tong)城(cheng)歌(ge)(ge)。桐(tong)(tong)(tong)城(cheng)歌(ge)(ge)經批準，已進入(ru)安徽(hui)(hui)省(sheng)(sheng)文化(hua)(hua)廳(ting)第(di)一批省(sheng)(sheng)級(ji)非(fei)物(wu)質(zhi)(zhi)文化(hua)(hua)遺(yi)產名錄(lu)（共(gong)102個項(xiang)(xiang)目(mu)，包括已公(gong)布的(de)國(guo)家名錄(lu)19項(xiang)(xiang)。全省(sheng)(sheng)17個市(shi)都(dou)有(you)項(xiang)(xiang)目(mu)入(ru)選(xuan)，入(ru)選(xuan)項(xiang)(xiang)目(mu)最多的(de)市(shi)是黃山市(shi)）。桐(tong)(tong)(tong)城(cheng)歌(ge)(ge)入(ru)選(xuan)省(sheng)(sheng)級(ji)名錄(lu)項(xiang)(xiang)目(mu)在(zai)同一類型中最具(ju)(ju)代表(biao)性；在(zai)某一區域內最具(ju)(ju)影響力(li)；具(ju)(ju)有(you)鮮明的(de)地(di)方(fang)特色；都(dou)處于(yu)(yu)瀕危狀態亟需保(bao)護，有(you)的(de)已處于(yu)(yu)滅絕的(de)邊緣。桐(tong)(tong)(tong)城(cheng)歌(ge)(ge)：屬(shu)(shu)于(yu)(yu)安徽(hui)(hui)省(sheng)(sheng)級(ji)非(fei)物(wu)質(zhi)(zhi)文化(hua)(hua)遺(yi)產名錄(lu)---第(di)一批國(guo)家名錄(lu)。存在(zai)許多桐(tong)(tong)(tong)城(cheng)歌(ge)(ge)“民(min)(min)間(jian)藝(yi)術大師(shi)”，并且有(you)“民(min)(min)間(jian)藝(yi)術之鄉(xiang)”（不(bu)含(han)國(guo)家級(ji)19項(xiang)(xiang)：民(min)(min)間(jian)文學類有(you)“鞭(bian)打蘆(lu)花、孔雀(que)東(dong)南(nan)飛、桐(tong)(tong)(tong)城(cheng)歌(ge)(ge)、六(liu)尺巷傳說(shuo)、徽(hui)(hui)州(zhou)(zhou)民(min)(min)謠、徽(hui)(hui)州(zhou)(zhou)楹聯匾額”等6項(xiang)(xiang)）。

桐(tong)(tong)(tong)(tong)城(cheng)歌(ge)，是(shi)(shi)(shi)十分珍貴(gui)的(de)(de)民(min)族民(min)間(jian)(jian)文(wen)(wen)(wen)化遺產、精(jing)神財(cai)富，是(shi)(shi)(shi)祖先們(men)留給后人(ren)的(de)(de)重要國學非(fei)物質文(wen)(wen)(wen)化遺產，是(shi)(shi)(shi)最能體現桐(tong)(tong)(tong)(tong)城(cheng)地(di)(di)方特(te)色(se)的(de)(de)要數桐(tong)(tong)(tong)(tong)城(cheng)歌(ge)謠。“桐(tong)(tong)(tong)(tong)城(cheng)歌(ge)”作(zuo)(zuo)為 一種(zhong)歌(ge)種(zhong)，早在明(ming)(ming)代就躋身于(yu)中(zhong)(zhong)(zhong)國歌(ge)壇(tan)。《中(zhong)(zhong)(zhong)國文(wen)(wen)(wen)學史》中(zhong)(zhong)(zhong)對(dui)于(yu)“桐(tong)(tong)(tong)(tong)城(cheng)歌(ge)”的(de)(de)地(di)(di)位(wei)作(zuo)(zuo)了明(ming)(ming)確的(de)(de)肯定(ding)，還引(yin)用、評(ping)述了“桐(tong)(tong)(tong)(tong)城(cheng)歌(ge)”《素(su)帕》卓有(you)成就的(de)(de)桐(tong)(tong)(tong)(tong)城(cheng)作(zuo)(zuo)家們(men)的(de)(de)藝(yi)術實踐。桐(tong)(tong)(tong)(tong)城(cheng)歌(ge)，是(shi)(shi)(shi)桐(tong)(tong)(tong)(tong)城(cheng)民(min)間(jian)(jian)文(wen)(wen)(wen)學中(zhong)(zhong)(zhong)的(de)(de)一枝奇葩(pa)。其歌(ge)體、藝(yi)術風格及(ji)其具有(you)的(de)(de)鮮明(ming)(ming)地(di)(di)方特(te)色(se)，《明(ming)(ming)代雜曲集》里收(shou)錄桐(tong)(tong)(tong)(tong)城(cheng)歌(ge)25首(shou)，馮(feng)夢龍的(de)(de)《山(shan)歌(ge)》里收(shou)24首(shou)，清(qing)乾隆九年(nian)刊《萬花小曲》也收(shou)有(you)多首(shou)桐(tong)(tong)(tong)(tong)城(cheng)歌(ge)。“桐(tong)(tong)(tong)(tong)城(cheng)歌(ge)”，為明(ming)(ming)清(qing)民(min)歌(ge)時(shi)調(diao)在更大范圍內興盛發達埋下了遙遠的(de)(de)伏(fu)筆，打(da)下了堅實的(de)(de)人(ren)文(wen)(wen)(wen)基礎。據調(diao)查，時(shi)至(zhi)今日，安慶懷寧及(ji)潛(qian)山(shan)一帶仍將“折磨媳(xi)的(de)(de)婆(po)婆(po)喊(han)作(zuo)(zuo)‘焦八叉’”即“焦母”，“將受折磨的(de)(de)媳(xi)婦(fu)叫作(zuo)(zuo)‘苦枝子’”---流傳下來的(de)(de)桐(tong)(tong)(tong)(tong)城(cheng)歌(ge)。

題材分布

桐(tong)(tong)(tong)(tong)(tong)城(cheng)(cheng)(cheng)歌由山歌、民謠(yao)、小調組(zu)成(cheng)，題材廣(guang)泛，內容豐富，影響(xiang)廣(guang)泛而深遠。黃(huang)(huang)梅(mei)(mei)(mei)戲史論(lun)家陸洪非先生(sheng)也說：“安徽(hui)的(de)(de)《桐(tong)(tong)(tong)(tong)(tong)城(cheng)(cheng)(cheng)歌》也是很(hen)早就傳到黃(huang)(huang)梅(mei)(mei)(mei)（湖北——引者按）一(yi)(yi)帶。”因此，“起于(yu)(yu)安徽(hui)桐(tong)(tong)(tong)(tong)(tong)城(cheng)(cheng)(cheng)地方的(de)(de)”《桐(tong)(tong)(tong)(tong)(tong)城(cheng)(cheng)(cheng)歌》非局囿(you)于(yu)(yu)桐(tong)(tong)(tong)(tong)(tong)城(cheng)(cheng)(cheng)一(yi)(yi)隅，是借安慶傳遞(di)，向“吳(wu)語(yu)地區”“黃(huang)(huang)梅(mei)(mei)(mei)一(yi)(yi)帶”等更大(da)空間擴(kuo)散，以及外地歌謠(yao)源源融入安慶沿江(jiang)開放共融的(de)(de)文(wen)化品貌。明人(ren)筆記《萬歷(li)野獲編》中，沈德(de)符（1578—1642，字景(jing)倩，又字虎臣(chen)、景(jing)伯，明浙江(jiang)秀水人(ren)，萬歷(li)四十六年（1618）中舉人(ren)。著有《清權堂集(ji)》《敝(bi)帚軒(xuan)剩語(yu)》三卷、《顧曲雜言》一(yi)(yi)卷、《飛鳧語(yu)略》一(yi)(yi)卷、《秦璽始末(mo)》一(yi)(yi)卷）論(lun)述了嘉(jia)靖時(shi)流(liu)行的(de)(de)“桐(tong)(tong)(tong)(tong)(tong)城(cheng)(cheng)(cheng)歌”發展過程，提供(gong)了明代桐(tong)(tong)(tong)(tong)(tong)城(cheng)(cheng)(cheng)歌研究(jiu)提供(gong)了重要(yao)理論(lun)依據。

傳承保護

桐(tong)城(cheng)(cheng)歌：桐(tong)城(cheng)(cheng)市(shi)文(wen)(wen)化(hua)館，擔負起非物(wu)質文(wen)(wen)化(hua)遺(yi)產歷(li)史性任(ren)務：《六尺巷》雖說是(shi)民間故事(shi)，但確實是(shi)清代(dai)中(zhong)期(qi)發生(sheng)在桐(tong)城(cheng)(cheng)的(de)(de)真人(ren)真事(shi)，并廣為(wei)(wei)流(liu)傳(chuan)。“一紙(zhi)書來(lai)(lai)只為(wei)(wei)墻(qiang)，讓(rang)(rang)他(ta)三尺有何(he)妨”？寬容禮(li)讓(rang)(rang)的(de)(de)傳(chuan)統美德(de)，幾百年(nian)來(lai)(lai)深刻影響著人(ren)們的(de)(de)思想道(dao)德(de)和(he)行為(wei)(wei)規范，在當(dang)今構(gou)建和(he)諧社會(hui)中(zhong)有著積極(ji)的(de)(de)現實意義。1956年(nian)中(zhong)蘇(su)關系惡(e)化(hua)，毛澤(ze)東接見(jian)(jian)前蘇(su)聯駐華大使尤(you)金時，引用了《六尺巷》故事(shi)中(zhong)“萬里(li)長(chang)城(cheng)(cheng)今猶在，哪見(jian)(jian)當(dang)年(nian)秦(qin)始皇”的(de)(de)兩句詩。《十番鑼(luo)鼓(gu)》自明清以來(lai)(lai)就在桐(tong)城(cheng)(cheng)生(sheng)根(gen)生(sheng)長(chang)；這種民間流(liu)傳(chuan)的(de)(de)吹打(da)音(yin)樂(le)形(xing)式，長(chang)期(qi)為(wei)(wei)當(dang)地老百姓所喜(xi)聞(wen)樂(le)見(jian)(jian)，是(shi)一項重要的(de)(de)民俗活動。20世紀90年(nian)代(dai)我們還(huan)將(jiang)其搬上(shang)了舞(wu)臺(tai)，曾(ceng)參加中(zhong)國安(an)慶(qing)第(di)一、第(di)二屆(jie)黃梅戲藝(yi)術(shu)(shu)節開(kai)幕(mu)式文(wen)(wen)藝(yi)演(yan)(yan)出，其藝(yi)術(shu)(shu)價值和(he)表演(yan)(yan)形(xing)式，深受廣大觀眾和(he)專(zhuan)家的(de)(de)好評。在進行非物(wu)質文(wen)(wen)化(hua)遺(yi)產搶救與保護中(zhong)，桐(tong)城(cheng)(cheng)歌得到了有效地搶救與保護：

一、保護桐(tong)城歌的(de)(de)緊迫性。桐(tong)城歌文(wen)化(hua)搶救(jiu)與(yu)保護，是非物質文(wen)化(hua)遺(yi)產(chan)屬于民(min)族民(min)間文(wen)化(hua)保護的(de)(de)范(fan)圍(wei)。文(wen)化(hua)部在1992年頒布施行(xing)的(de)(de)《群眾藝(yi)(yi)術館(guan)、文(wen)化(hua)館(guan)管(guan)理(li)辦法》中，明(ming)確了搜(sou)集、整(zheng)理(li)、保護民(min)族民(min)間文(wen)化(hua)藝(yi)(yi)術遺(yi)產(chan)，是文(wen)化(hua)館(guan)的(de)(de)工作(zuo)任(ren)務和(he)重(zhong)要(yao)職(zhi)能。黨的(de)(de)“十六大”提出，要(yao)“扶持對重(zhong)要(yao)文(wen)化(hua)遺(yi)產(chan)和(he)優秀民(min)間藝(yi)(yi)術的(de)(de)保護工作(zuo)”。

二、拓展(zhan)桐(tong)(tong)城歌(ge)文(wen)(wen)(wen)化。非物質文(wen)(wen)(wen)化遺(yi)(yi)產(chan)搶(qiang)救與保(bao)護(hu)---桐(tong)(tong)城歌(ge)，由專家、傳承人(ren)和(he)群(qun)眾文(wen)(wen)(wen)化工(gong)(gong)作(zuo)者組(zu)成的(de)(de)工(gong)(gong)作(zuo)小組(zu)，摸清(qing)桐(tong)(tong)城歌(ge)文(wen)(wen)(wen)化遺(yi)(yi)產(chan)亟待搶(qiang)救的(de)(de)重點對(dui)象，選取(qu)本地具(ju)有代表(biao)性的(de)(de)民間文(wen)(wen)(wen)學《桐(tong)(tong)城歌(ge)》作(zuo)為首批省(sheng)級非物質文(wen)(wen)(wen)化遺(yi)(yi)產(chan)申(shen)報重點，組(zu)織(zhi)座談，深入邊遠鄉村，走(zou)訪民間藝人(ren)，掌握(wo)了大量珍貴歷史資料。開(kai)展(zhan)以“申(shen)遺(yi)(yi)”為主題的(de)(de)形(xing)式(shi)多樣的(de)(de)文(wen)(wen)(wen)化活動(dong)，組(zu)織(zhi)當地民歌(ge)手舉辦“桐(tong)(tong)城歌(ge)”演唱(chang)會。

三(san)、建立長效機制(zhi)，做好桐(tong)城(cheng)歌非物(wu)(wu)質(zhi)文(wen)化遺產搶(qiang)救(jiu)。“保(bao)護(hu)為主、搶(qiang)救(jiu)第一、合理利(li)用(yong)、傳承發展”是非物(wu)(wu)質(zhi)文(wen)化遺產桐(tong)城(cheng)歌保(bao)護(hu)工作必須堅持的(de)(de)方針。選擇一批有能力、有事(shi)業心的(de)(de)人專(zhuan)門(men)從(cong)事(shi)非物(wu)(wu)質(zhi)文(wen)化遺產的(de)(de)搜集整理工作；注重對傳承人的(de)(de)保(bao)護(hu)，深入基層(ceng)同民間(jian)(jian)藝人交朋友(you)，資料搜集和檔(dang)案的(de)(de)建立，包括民間(jian)(jian)藝人、實物(wu)(wu)及相關(guan)器具等檔(dang)案的(de)(de)建立。

四、克服浮躁思想。利用音像(xiang)、圖片等(deng)形式將(jiang)其實錄(lu)并刻(ke)制光盤(pan)保存下來(lai)；成立(li)重點文化(hua)遺(yi)(yi)產項(xiang)目(mu)研究會，出版研究專著；建立(li)展(zhan)覽(lan)館(guan)，開辟文化(hua)遺(yi)(yi)產網，吸(xi)引民(min)眾(zhong)參與；培(pei)訓民(min)間(jian)文化(hua)遺(yi)(yi)產隊伍；建立(li)非(fei)物質文化(hua)遺(yi)(yi)產保護基金；注(zhu)重培(pei)養青年(nian)民(min)歌(ge)手；選取有(you)積(ji)極意(yi)義的傳統民(min)間(jian)民(min)族文化(hua)遺(yi)(yi)產，如傳統兒(er)歌(ge)、民(min)間(jian)故事、民(min)間(jian)文學作為鄉土教材編入鄉土教材。