本文選題：戲曲工尺譜　切入點：清宮　出處：《浙江大學(xué)》2016年博士論文

【摘要】：戲曲工尺譜是解讀古代戲曲音樂最直觀的途徑,現(xiàn)存有大量未經(jīng)整理的戲曲工尺譜文獻。這些曲譜不僅能幫助我們理解戲曲聲腔藝術(shù),還從側(cè)面折射出戲曲發(fā)展中的許多問題。學(xué)界對戲曲工尺譜的研究還留有很大空白。通過對海量戲曲工尺譜文獻的調(diào)查,本文試圖全面地展示戲曲工尺譜的留存、發(fā)展狀況,并挖掘其深刻內(nèi)涵及其對于整個戲曲發(fā)展的價值所在。正文共五章:第一章《工尺述略》主要闡述工尺譜之來源,勾勒戲曲工尺譜之產(chǎn)生和發(fā)展,以及戲曲工尺譜中所涉及的戲曲理論。第二章《清宮與戲?qū)m》,指出"清宮"與"戲?qū)m"的對立概念不成立,學(xué)界所說"清宮"與"戲?qū)m"合流的實質(zhì)其實是戲曲工尺譜發(fā)展流變的總體趨勢——記譜的的細致化與固定化。第三章《明末至近代戲曲工尺譜的抄訂與傳播》論述工尺譜的抄訂刊刻情況,從官修曲譜、文人訂譜與藝人訂譜三方面來探討身份不同的編者所撰曲譜的不同特點。第四章《現(xiàn)代戲曲工尺譜的整理與近代以來戲曲工尺譜的翻譯》,整理并總結(jié)論述對于保存戲曲工尺譜文獻具有重要意義的成果——今人對古代、近代戲曲工尺譜的整理及影印出版,以及近代以來戲曲工作者與愛好者對這些曲譜的翻譯。第五章《戲曲工尺譜與戲曲文學(xué)劇本》,探討戲曲工尺譜與文學(xué)的關(guān)系:1、存譜多的劇目并非都是文學(xué)水準較高的作品2、曲譜中對劇本的改動整體趨向于俗化,主要是為了適應(yīng)演出和演唱的需要。附錄1《戲曲工尺譜綜合目錄》,在曹安和先生《現(xiàn)存元明清雜劇全折樂譜目錄》與周秦先生《昆戲集存》的基礎(chǔ)上,通過全面的文獻排查梳理,總結(jié)出元明清三代雜劇、傳奇、宮廷戲的存譜狀況,從而展示出曲譜的文獻價值——對古代稀見和散佚劇目、曲目的保存,以及藝術(shù)價值——為今天復(fù)排古代戲曲提供音樂、表演、劇本基礎(chǔ)。附錄2《訂譜人考略》梳理、考證出戲曲工尺譜中所出現(xiàn)的三十一名訂譜人簡單的生平情況。
[Abstract]:As the most intuitionistic way to interpret the ancient opera music, there are a lot of unsorted literature about it. These compositions can not only help us understand the art of Chinese opera. It also reflects a lot of problems in the development of opera from the side. There is still a big gap in the study of the scale spectrum of traditional Chinese opera. Through the investigation of the literature on the scale spectrum of the massive opera, this paper attempts to show the retention and development of the scale spectrum of the opera in an all-round way. And excavate its profound connotation and its value for the development of the whole opera. The text consists of five chapters: the first chapter describes the origin of the Gongqi spectrum, and outlines the origin and development of the Gongqi spectrum. The second chapter, "Qing Palace and Opera Palace", points out that the opposite concepts of "Qing Palace" and "Opera Palace" do not hold true. Academic circles say that the essence of the combination of "Qing Palace" and "Opera Palace" is in fact the overall trend of the development of the scale spectrum of traditional Chinese operas-the meticulous and immobilization of the notation. The third chapter "Reading and dissemination of the scale spectrum of operas from the end of Ming Dynasty to modern times." Describing the copying and printing of the working-scale spectrum, From the official revision of the music, This paper discusses the different characteristics of the composition compiled by writers with different identities and artists. Chapter IV, "the collation of modern opera works and the translation of modern operas." There is an important achievement in the literature of the art scale spectrum of the traditional Chinese operas-modern people are of great significance to the ancient times, The collation and photocopying of Modern Chinese Opera. And the translation of these compositions by opera practitioners and lovers since modern times. Chapter 5, "Drama score and Drama Literary Screenplay", discusses the relationship between the operatic scale spectrum and literature: 1. Not all of the operas with more scores are of higher literary standard. Gao's works 2, the changes in the composition of the script as a whole tend to vulgarization, The main purpose is to meet the needs of performance and performance. Appendix 1, Comprehensive catalogue of Drama works, on the basis of Mr. Cao Anhe's < the extant Yuan, Ming and Qing Dynasty zaju's full fold music score catalogue > and Zhou Qin's' Kunqu Opera Collection', Through a comprehensive literature review and combing, the paper summarizes the existing status of the three dynasties of Yuan, Ming and Qing dynasties dramas, legends and court operas, thus showing the literature value of the musical compositions-the preservation of ancient rare and lost plays, and the preservation of the repertoire. And the artistic value-provides the music, the performance, the screenplay foundation for the rearrangement ancient opera today.
【學(xué)位授予單位】：浙江大學(xué)
【學(xué)位級別】：博士
【學(xué)位授予年份】：2016
【分類號】：I207.37
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本文編號：1678997