本文選題：肘鼓子 + 聲腔�。� 參考：《中國音樂學(xué)院》2017年碩士論文

【摘要】：“聲腔”是戲曲的專用名詞,本文是對山東境內(nèi)肘鼓子聲腔音樂的學(xué)習(xí)研究。業(yè)內(nèi)“行話”說的聲腔,一般是指那些分別為不同劇種服務(wù)的唱腔音樂,但在唱腔音樂之間又具有相應(yīng)的共同淵源、藝術(shù)特征等關(guān)聯(lián)性,且根據(jù)這些信息梳理出唱腔音樂的分屬聲腔系統(tǒng),因此說聲腔是中國戲曲音樂十分重要的學(xué)術(shù)名詞,也是業(yè)內(nèi)專家關(guān)注的研究點。聲腔的傳播會因方言和地域文化影響分化為各個不同的劇種,這些劇種雖各顯特色,但在唱腔音樂本體上會遵循聲腔音樂所保存下來的某些“原始基因”。目前學(xué)界對聲腔研究的成果主要涉及了聲腔的界定、歷史源流以及傳播路徑等方面,但在聲腔分類問題上卻有很多專家提出了不同意見與思考,爭論焦點集中在“四大聲腔”(昆、高、梆、黃)之外的地方小戲的聲腔劃分問題上。筆者根據(jù)進(jìn)入《中國戲曲音樂集成》卷本的劇種統(tǒng)計得知,全國戲曲劇種歸屬在“四大聲腔”的僅為少數(shù),而占據(jù)絕大多數(shù)的地方小戲劇種歸屬于何種聲腔至今仍然眾說不一,成為中國戲曲音樂研究中亟待梳理的重要課題。山東戲曲作為中國傳統(tǒng)音樂文化的重要組成部分,具有濃郁的地方色彩,柔美抒情的呂劇、俏皮詼諧的五音戲、激昂高亢的山東梆子、韻味十足的兩夾弦……共同構(gòu)建了山東戲苑的繁盛景觀�！爸夤淖印笔巧綎|戲曲的土著聲腔,當(dāng)?shù)厮嚾伺c百姓約定俗成的稱謂中,把“柳琴戲”、“五音戲”等劇種均稱呼為“肘鼓子戲”,也有不少文獻(xiàn)資料提到山東有很多劇種都?xì)w屬于“肘鼓子聲腔系統(tǒng)”,但沒有深入細(xì)致的研究下文。就目前學(xué)界的研究成果而言,對“肘鼓子聲腔”的整體性梳理與研究尚顯薄弱或匱乏,對肘鼓子聲腔的發(fā)展軌跡以及音樂本體特征尚無較為清晰的路線和答案�；谏鲜�,本人嘗試對“肘鼓子聲腔”是否成立問題進(jìn)行研究。首先從歷史的角度出發(fā),進(jìn)行文獻(xiàn)的搜集檢索與歸納整理,對五音戲、柳琴戲、茂腔、柳腔等劇種在歷史源流方面的資料進(jìn)行梳理,旨在厘清肘鼓子聲腔的發(fā)展脈絡(luò);其次以音樂本體分析的方式,將劇種作為研究個案,分析唱腔音樂,提取各劇種音樂本體的共性特征,總結(jié)肘鼓子聲腔音樂形態(tài)特點;第三結(jié)合筆者田野工作獲取的一手資料,觀察肘鼓子聲腔這種傳統(tǒng)的藝術(shù)形式在當(dāng)下各劇種、各院團(tuán)中的傳承現(xiàn)狀,探討當(dāng)今時代潮流沖擊下中國傳統(tǒng)戲曲藝術(shù)的變化與存在。
[Abstract]:"vocal cavity" is a special term for opera. This paper is a study on the music of elbow drum in Shandong province.The "jargon" in the industry generally refers to the vocal music that serves different types of plays, but it also has a corresponding common origin, artistic characteristics, and so on.According to these information, the vocal music belongs to the vocal system. Therefore, the vocal cavity is an important academic term of Chinese opera music, and is also the research point concerned by the industry experts.Because of the influence of dialect and regional culture, the spread of vocal cavity will be divided into different kinds of plays. Although these plays have their own characteristics, they will follow some "primitive genes" preserved by vocal music in the Noumenon of singing music.At present, the academic research on the vocal cavity mainly involves the definition of the cavity, the origin of the history and the path of transmission, etc. However, many experts have put forward different opinions and thoughts on the classification of the vocal cavity.The debate focuses on the division of the vocal sounds of the local opera beyond the four major vocals (Kun, Gao, bang, Huang).According to the statistics of the Chinese opera music integration volume, the author knows that only a small number of Chinese opera dramas belong to the "four major vocals", while the majority of the local small drama types belong to different kinds of vocals.It has become an important subject in the study of Chinese opera music.Shandong opera, as an important part of Chinese traditional music culture, has rich local color, soft and lyrical Lu opera, witty five-tone opera, high-spirited Shandong Bangzi with full charm of two strings.The prosperous landscape of Shandong opera garden is constructed together."Elbow Drum" is the native voice of Shandong opera. Among the local artists and the common people, they call "Liu Qin Opera" and "Wuyin Opera" as "elbows Drum Drama".There are many kinds of plays in Shandong that belong to the "cubital drum system", but there is no in-depth study of the following.As far as the current academic research results are concerned, it is still weak or lacking to comb and study the whole of "cubital drum subvocal cavity", and there is no clear route and answer to the development track and music Noumenon characteristics of cubital drum vocal cavity.Based on the above, I try to study whether the "elbow drum cavity" is established.First of all, from the historical point of view, the collection, retrieval and summary of literature, Wuyin drama, Liu Qin drama, Maoxiang, Liu cavity and other drama materials in the history of the origin of sorting out the development of the elbow drum voice;Secondly, by the way of music ontology analysis, take drama as a case study, analyze the singing music, extract the common characteristics of each musical ontology, summarize the characteristics of the elbow drum music; third, combine the first-hand data obtained by the author's field work.This paper observes the traditional art form of elbow drum and vocal cavity, and discusses the change and existence of Chinese traditional opera art under the impact of the current trend of the times.
【學(xué)位授予單位】：中國音樂學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J617.5

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