從《度曲歌訣》透視聲樂表演藝術(shù)的互通性美學(xué)原則
發(fā)布時(shí)間：2018-10-10 19:51
【摘要】：昆曲是我國(guó)歷史悠久的古老劇種，發(fā)端于明朝。其唱腔幽遠(yuǎn)婉轉(zhuǎn)，音樂意境深邃。在明朝“昆曲之父”魏良輔革新之后，與其它劇種發(fā)生了本質(zhì)的不同，成為一種文人劇種，其藝術(shù)思想深刻，格調(diào)優(yōu)雅，演唱技術(shù)完備。昆曲的唱腔與歌唱已十分接近，堪稱中國(guó)古典聲樂藝術(shù)的“活化石”。對(duì)中國(guó)的聲樂藝術(shù)教學(xué)和藝術(shù)實(shí)踐者來(lái)講，我們應(yīng)該主動(dòng)吸收“昆曲”這種“母體藝術(shù)”中的養(yǎng)分，促進(jìn)我們聲樂演唱和教學(xué)水平的提高和發(fā)展。 清末民初，我國(guó)著名的昆曲大家管際安老先生經(jīng)過(guò)長(zhǎng)達(dá)數(shù)十年的昆曲藝術(shù)實(shí)踐，，將昆曲的演唱總結(jié)為十句歌訣，名曰：《度曲歌訣》。 《度曲歌訣》言簡(jiǎn)意賅，深入淺出，信息涵蓋量很大，具有相當(dāng)?shù)膶W(xué)術(shù)性和科學(xué)性。是我國(guó)傳統(tǒng)聲樂理論的經(jīng)典之作。我們來(lái)對(duì)其進(jìn)行解讀，進(jìn)而深入地分析、探討和研究，對(duì)中國(guó)傳統(tǒng)聲樂美學(xué)思想做一個(gè)歸納性的梳理，自覺汲取我國(guó)傳統(tǒng)聲樂美學(xué)的精髓，并結(jié)合古今中外藝術(shù)美學(xué)思想和聲樂理論，努力拓展其外延，形成對(duì)聲樂表演藝術(shù)的宏觀認(rèn)識(shí)。在此基礎(chǔ)之上，透視聲樂表演藝術(shù)的互通性美學(xué)原則。這對(duì)提升聲樂理論水平和促進(jìn)聲樂教學(xué)與藝術(shù)實(shí)踐質(zhì)量的提高，都有著重要的現(xiàn)實(shí)指導(dǎo)意義。 學(xué)位論文大概涵蓋三方面的內(nèi)容：聲樂美學(xué)，聲樂美學(xué)對(duì)聲樂表演藝術(shù)實(shí)踐的指導(dǎo)，聲樂美學(xué)在聲樂教學(xué)中的滲透。本文解決的問(wèn)題及研究?jī)?nèi)容如下： 一、解讀分析《度曲歌訣》的內(nèi)涵。 二、對(duì)中國(guó)傳統(tǒng)及古典聲樂美學(xué)思想和理論做了一個(gè)較為系統(tǒng)的梳理。 三、并以上述為契機(jī)，結(jié)合古今中外和筆者本人有關(guān)聲樂藝術(shù)表演與教學(xué)的理論與觀點(diǎn)，進(jìn)一步拓展其外延，得出聲樂表演藝術(shù)二度創(chuàng)作的互通性美學(xué)原則: 1.音樂因素與語(yǔ)言因素相統(tǒng)一。 2.表現(xiàn)形式與表現(xiàn)內(nèi)容相統(tǒng)一。 3.內(nèi)質(zhì)繼承與品質(zhì)提升相統(tǒng)一。 本文的研究旨在于為聲樂教學(xué)雙方及歌唱藝術(shù)實(shí)踐者提供一冊(cè)關(guān)于聲樂表演藝術(shù)美學(xué)原則的“備忘錄”。
[Abstract]:Kunqu Opera, which originated in the Ming Dynasty, is an ancient opera with a long history in China. Its singing tone is far and graceful, the music artistic conception is deep. After the reform of Wei Liangfu, the father of Kunqu Opera in the Ming Dynasty, it became a kind of literati drama with profound artistic thought, elegant style and complete singing technique. The singing and singing of Kunqu Opera are very close to each other, and they can be called "living fossils" of Chinese classical vocal music art. For Chinese vocal music art teaching and art practitioners, we should take the initiative to absorb the nutrients of "Kunqu Opera" and promote the improvement and development of our vocal music singing and teaching level. At the end of the Qing Dynasty and the beginning of the Republic of China, after decades of artistic practice in Kunqu Opera, Mr. Guan Jian, a famous Kunqu opera fellow, summed up the singing of Kunqu Opera as ten songs, called "the Song of Dequ". Deep and simple, the amount of information coverage is very large, with a considerable academic and scientific. It is a classic work of Chinese traditional vocal music theory. We will interpret it, and then analyze, explore and study it in depth, make an inductive combing of Chinese traditional vocal music aesthetics, and consciously absorb the essence of Chinese traditional vocal music aesthetics. Combining the aesthetic thought and vocal music theory of ancient and modern Chinese and foreign art, we try to expand its extension and form a macroscopic understanding of vocal performing art. On this basis, the perspective of vocal performance art interoperability aesthetic principles. It is of practical significance to improve the level of vocal music theory and the quality of vocal music teaching and art practice. The thesis covers three aspects: vocal music aesthetics, the guidance of vocal music aesthetics to vocal performing art practice, and the penetration of vocal music aesthetics in vocal music teaching. The problems and research contents of this paper are as follows: 1. Second, the aesthetic thoughts and theories of Chinese traditional and classical vocal music are systematically combed. 3. Taking the above as the opportunity, combining the theories and viewpoints about vocal performance and teaching in ancient and modern China and abroad, the author further extends its extension, and obtains the interworking aesthetic principle of the second creation of vocal performing art: 1. Music and language. 2. The form of expression and the content of expression are unified. 3. Endoplasmic inheritance and quality improvement are unified. The purpose of this study is to provide a memorandum on the aesthetic principles of vocal performing art for both sides of vocal music teaching and singing art practitioners.
【學(xué)位授予單位】：云南藝術(shù)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2012
【分類號(hào)】：J616
本文編號(hào)：2263034
[Abstract]:Kunqu Opera, which originated in the Ming Dynasty, is an ancient opera with a long history in China. Its singing tone is far and graceful, the music artistic conception is deep. After the reform of Wei Liangfu, the father of Kunqu Opera in the Ming Dynasty, it became a kind of literati drama with profound artistic thought, elegant style and complete singing technique. The singing and singing of Kunqu Opera are very close to each other, and they can be called "living fossils" of Chinese classical vocal music art. For Chinese vocal music art teaching and art practitioners, we should take the initiative to absorb the nutrients of "Kunqu Opera" and promote the improvement and development of our vocal music singing and teaching level. At the end of the Qing Dynasty and the beginning of the Republic of China, after decades of artistic practice in Kunqu Opera, Mr. Guan Jian, a famous Kunqu opera fellow, summed up the singing of Kunqu Opera as ten songs, called "the Song of Dequ". Deep and simple, the amount of information coverage is very large, with a considerable academic and scientific. It is a classic work of Chinese traditional vocal music theory. We will interpret it, and then analyze, explore and study it in depth, make an inductive combing of Chinese traditional vocal music aesthetics, and consciously absorb the essence of Chinese traditional vocal music aesthetics. Combining the aesthetic thought and vocal music theory of ancient and modern Chinese and foreign art, we try to expand its extension and form a macroscopic understanding of vocal performing art. On this basis, the perspective of vocal performance art interoperability aesthetic principles. It is of practical significance to improve the level of vocal music theory and the quality of vocal music teaching and art practice. The thesis covers three aspects: vocal music aesthetics, the guidance of vocal music aesthetics to vocal performing art practice, and the penetration of vocal music aesthetics in vocal music teaching. The problems and research contents of this paper are as follows: 1. Second, the aesthetic thoughts and theories of Chinese traditional and classical vocal music are systematically combed. 3. Taking the above as the opportunity, combining the theories and viewpoints about vocal performance and teaching in ancient and modern China and abroad, the author further extends its extension, and obtains the interworking aesthetic principle of the second creation of vocal performing art: 1. Music and language. 2. The form of expression and the content of expression are unified. 3. Endoplasmic inheritance and quality improvement are unified. The purpose of this study is to provide a memorandum on the aesthetic principles of vocal performing art for both sides of vocal music teaching and singing art practitioners.
【學(xué)位授予單位】：云南藝術(shù)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2012
【分類號(hào)】：J616
【引證文獻(xiàn)】
相關(guān)期刊論文 前1條
1 李鳳坤;;論聲樂表演中歌詞語(yǔ)言的藝術(shù)處理[J];音樂大觀;2013年03期
本文編號(hào)：2263034
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