本文關(guān)鍵詞：從拉魂腔到拉魂腔系：地方聲腔的譜系化格局研究　出處：《福建師范大學(xué)》2016年博士論文　論文類型：學(xué)位論文

  更多相關(guān)文章： 拉魂腔 拉魂腔系 地方聲腔 譜系化

【摘要】：本文以拉魂腔系各劇種為研究對(duì)象,揭示其從“腔”到“腔系”的衍變過程及其產(chǎn)生的原因,試圖揭示地方聲腔的譜系化格局及其形成機(jī)制。第一章主要探討拉魂腔從“腔”到“腔系”的生態(tài)格局,認(rèn)為拉魂腔從曲藝形態(tài)轉(zhuǎn)化為戲曲形態(tài),由單一劇種聲腔發(fā)展為包含多個(gè)支系劇種的聲腔系統(tǒng),其敘事方式發(fā)生了蛻變移位；各支系劇種保留有拉魂腔共同的聲腔特征,其內(nèi)在維持力量是“聲變情達(dá)、情隨腔走”的藝術(shù)追求,并固化為拉魂腔特有的共性特點(diǎn)。同時(shí),各支系劇種還吸收借鑒本地音樂元素,形成了各自的唱腔特色,促使拉魂腔原有的共性特點(diǎn)發(fā)生不同程度的變易,從而形成共性與個(gè)性共存的腔系生態(tài)。第二章主要研究柳泗腔支系的聲腔形態(tài)特點(diǎn),認(rèn)為它既繼承了拉魂腔聲腔的核心特點(diǎn),同時(shí)也進(jìn)行了創(chuàng)新發(fā)展,在唱腔音調(diào)、聲腔結(jié)構(gòu)等方面更多吸收了地方民間音樂,經(jīng)歷了“外在沖擊——內(nèi)在轉(zhuǎn)化——綜合創(chuàng)造”的發(fā)展過程,從而形成“兼容并蓄、外向重構(gòu)”的藝術(shù)品格,豐富了拉魂腔的聲腔體系。第三章主要研究淮海腔支系的聲腔形態(tài)特點(diǎn),最突出的藝術(shù)風(fēng)格是主腔歷經(jīng)了“兩變一轉(zhuǎn)”,形成曲線性的發(fā)展態(tài)勢(shì)。它是在拉魂腔的基礎(chǔ)上,吸收了當(dāng)?shù)氐奶礁�、獵戶腔、俚曲、京劇、徽劇、淮海鑼鼓、童子戲等樂種的聲腔,并對(duì)基本腔進(jìn)行了板式發(fā)展變化,發(fā)展成為曲牌體與板式變化體相結(jié)合的聲腔體制,是對(duì)拉魂腔聲腔的進(jìn)一步發(fā)展。第四章主要研究肘鼓子腔支系的各劇種,認(rèn)為各劇種都是以早期肘鼓子戲和拉魂腔為基礎(chǔ),并吸收借鑒了北方音樂的元素。這些聲腔既有拉魂腔的核心特征,也吸收了很多戲曲、說唱和民歌小調(diào),受到了齊魯文化的強(qiáng)烈影響,其音調(diào)體系的構(gòu)成更加豐富,潤(rùn)腔手法更加多樣,唱腔結(jié)構(gòu)也呈現(xiàn)多元化的態(tài)勢(shì)。第五章重點(diǎn)探尋拉魂腔系譜系化格局的形成機(jī)制,認(rèn)為生活方式、方言語(yǔ)調(diào)和地方民間音樂對(duì)拉魂腔系的各支系聲腔產(chǎn)生了重要影響。同時(shí),辟邪文化對(duì)拉魂腔的起源與成長(zhǎng)起到了助推作用,宗教信仰對(duì)戲曲聲腔的價(jià)值取向產(chǎn)生了直接作用,拉魂腔系的聲腔衍變及其譜系化分布,也與藝人的演藝方式有著直接的關(guān)聯(lián)。
[Abstract]:In this paper, we take every kind of drama of the soul system as the research object, and reveal the evolution process from "cavity" to "cavity system" and the reasons for its emergence. The first chapter mainly discusses the ecological pattern from "cavity" to "cavity system", and thinks that the soul cavity is transformed from quyi form to opera form. From a single type of vocal cavity to a vocal system containing multiple branches of drama, its narrative mode has changed and shifted. Each branch of drama retains the common sound characteristics of the soul cavity, and its internal maintenance force is the artistic pursuit of "the sound changes the emotion, the emotion goes with the cavity", and solidifies as the common characteristic of the pull soul cavity. At the same time. Each branch also absorbs the local music elements to form their own singing characteristics and promote the original common characteristics of the soul to change in varying degrees. In order to form the common and individual coexistence of cavity ecology. The second chapter mainly studies the characteristics of the Liusi cavity branch cavity shape, it not only inherits the core characteristics of the soul cavity, but also carries on the innovation and development. In the aspects of singing tone, vocal structure and so on, more local folk music has been absorbed, which has experienced the development process of "external shock-internal transformation-comprehensive creation", thus forming "all-inclusive". The extroverted reconstruction of works of art enriches the vocal cavity system of the soul. The third chapter mainly studies the characteristics of the Huai Hai cavity branch, the most outstanding art style is that the main cavity has gone through "two changes and one turn". It is based on pulling the soul, absorbing local Taiping song, Orion, slang, Beijing opera, Hui opera, Huaihai gongs and drums, children's play and other kinds of music. And has carried on the plate type development change to the basic cavity, has developed the sound cavity system which the qu card body and the board type change body unifies, is to pull the soul cavity the sound cavity further development. 4th chapter mainly studies the elbow drum sub-cavity branch each kind of drama. It is believed that all kinds of plays are based on the early elbows and drum dramas and draw on the elements of northern music. These vocals have not only the core characteristics of the soul, but also many operas, rap and folk song minor. Under the strong influence of Qilu culture, the composition of the tone system is more abundant, and the tonality is more diverse. Singing structure also presents a diversified situation. Chapter 5th focuses on exploring the formation mechanism of the pedigree pattern of the soul pedigree, and believes that the way of life. Dialect intonation and local folk music have an important influence on the vocal cavity of every branch of the soul system. At the same time, the culture of dispelling evil spirits plays a positive role in the origin and growth of the soul. Religious belief has a direct effect on the value orientation of the opera. The evolution of the soul family and its genealogical distribution are also directly related to the entertainer's performing style.
【學(xué)位授予單位】：福建師范大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2016
【分類號(hào)】：J617.5

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