【摘要】：在我國一些戲曲劇種中,流派紛呈,風(fēng)格獨(dú)特,是唱腔音樂發(fā)展到了成熟階段的重要標(biāo)志。唱腔流派是"以演員為中心"體制的產(chǎn)物。傳統(tǒng)戲曲流派的特點(diǎn)是將編曲的第一度創(chuàng)作與演唱的第二度創(chuàng)造集于演員一身。隨著時代的發(fā)展,20世紀(jì)50年代以來,戲曲音樂創(chuàng)作體制逐漸由"以演員為中心"向"由作曲家統(tǒng)籌"轉(zhuǎn)化。在"由作曲家統(tǒng)籌"主導(dǎo)下的方式,便失去了產(chǎn)生流派的溫床。本文提出,為了繁榮戲曲藝術(shù),應(yīng)當(dāng)讓"以演員為中心"與"由作曲家統(tǒng)籌"體制并存,各顯其能,互存共榮。
[Abstract]:In some operas of our country, the genres are various and the style is unique, which is an important symbol of the mature stage of singing music. The singing genre is the product of the "actor-centered" system. The characteristic of traditional opera school is to integrate the first creation and the second creation of singing into actors. With the development of the times, since the 1950s, the opera music creation system has gradually changed from "actor-centered" to "orchestrated by composers". In a way dominated by composer co-ordination, the hotbed of genres is lost. In order to prosper the art of opera, we should co-exist the system of "actor-centered" and "orchestrated by composers", showing each other's abilities and mutual prosperity.
【作者單位】： 湖南理工學(xué)院音樂系;國家非物質(zhì)文化遺產(chǎn)保護(hù)工作專家委員會;中國戲曲音樂理論研究會;
【分類號】：J617.5
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本文編號：2454974