本文選題：中國(guó)現(xiàn)代室內(nèi)歌劇　切入點(diǎn)：《命若琴弦》　出處：《中央音樂(lè)學(xué)院》2006年博士論文　論文類(lèi)型：學(xué)位論文

【摘要】： 本文以瞿小松作曲的《命若琴弦》和郭文景作曲的《夜宴》這兩部中國(guó)現(xiàn)代室內(nèi)歌劇為研究對(duì)象,從結(jié)構(gòu)特征、音響技術(shù)、人物塑造等幾個(gè)方面,探討其音樂(lè)部分的技術(shù)特點(diǎn)和藝術(shù)特色,期望對(duì)中國(guó)現(xiàn)代實(shí)驗(yàn)性歌劇的創(chuàng)作實(shí)踐產(chǎn)生積極的現(xiàn)實(shí)意義。 全文分為上、下兩編,共六章,每編各三章: 上編主要討論《命若琴弦》的音樂(lè)特色。第一章從戲劇和音樂(lè)兩個(gè)方面探討了該劇整體結(jié)構(gòu)形態(tài)及主要結(jié)構(gòu)力。指出“戲中戲”的結(jié)構(gòu)特點(diǎn)和三次“斷弦”的戲劇結(jié)構(gòu)力作用,此后,在分析了各場(chǎng)次及整體音樂(lè)結(jié)構(gòu)的基礎(chǔ)上指出,幾個(gè)貫穿全劇的主題、動(dòng)機(jī)、音型,整體速度布局,以及作為特性樂(lè)器的三弦音色等都形成了音樂(lè)結(jié)構(gòu)力;第二章“音響技術(shù)和戲劇表現(xiàn)手段”,分析了節(jié)奏、節(jié)拍、多聲技法等技術(shù)性問(wèn)題和器樂(lè)音樂(lè)在歌劇中的戲劇表現(xiàn)手段,如器樂(lè)的戲劇表現(xiàn)功能、音色的表現(xiàn)價(jià)值、音響結(jié)構(gòu)手段等。第三章“塑造人物形象的手法”,揭示了該劇塑造人物形象的整體思路,以及人聲在塑造人物過(guò)程中的作用。 下編主要討論《夜宴》的音樂(lè)特色。第四章“整體結(jié)構(gòu)形態(tài)及主要結(jié)構(gòu)力”,認(rèn)為該劇是一種“在兩種時(shí)態(tài)陳述系統(tǒng)中同構(gòu)比照”的戲劇結(jié)構(gòu),此結(jié)構(gòu)方式是戲劇內(nèi)容對(duì)戲劇結(jié)構(gòu)直接映射的結(jié)果。而《漢宮秋月》等幾個(gè)主題、動(dòng)機(jī)是全劇音樂(lè)結(jié)構(gòu)的核心結(jié)構(gòu)力。最后,由《夜宴》創(chuàng)作過(guò)程中的兩個(gè)文學(xué)腳本引發(fā)了關(guān)于戲劇與音樂(lè)關(guān)系問(wèn)題的一些思考;第五章第一節(jié)指出,該劇的織體形態(tài)、節(jié)奏節(jié)拍、多聲技法、調(diào)式調(diào)性等技術(shù)手段,都體現(xiàn)出中國(guó)單聲音樂(lè)思維的特點(diǎn),并認(rèn)為這一音響結(jié)構(gòu)邏輯正是形成《夜宴》中國(guó)文人音樂(lè)特色的技術(shù)核心。第二節(jié)從歌劇器樂(lè)音樂(lè)特殊功能入手,分別分析了琵琶、打擊樂(lè)器和管弦樂(lè)器的戲劇表現(xiàn)手段及價(jià)值;第六章集中討論關(guān)于塑造人物形象的問(wèn)題,認(rèn)為“在合理定位基礎(chǔ)上做動(dòng)態(tài)處理”是其總體特征,而多元統(tǒng)一的唱腔風(fēng)格、自如變化的表現(xiàn)形式,以及幫腔、重唱等多聲手段的應(yīng)用大大豐富了人聲的戲劇表現(xiàn)力。 結(jié)論總結(jié)了兩劇的藝術(shù)特色,并就它們對(duì)中國(guó)現(xiàn)代歌劇創(chuàng)作的積極意義提出了自己的見(jiàn)解。
[Abstract]:In this paper, two modern Chinese indoor operas, such as qu Xiaosong's "Liingruo string" and Guo Wenjing's "Night Banquet", are taken as the research objects, from the aspects of structural characteristics, sound technology, character shaping, and so on. This paper probes into the technical and artistic characteristics of the musical part and expects to have positive practical significance for the creative practice of modern experimental opera in China. The full text is divided into the following two parts, six chapters in total, three chapters for each part:. The first chapter discusses the whole structure form and the main structural force of the play from two aspects of drama and music, and points out the structural characteristics of "drama in drama" and the "broken string" of three times. Dramatic structural force, Then, on the basis of the analysis of each stage and the whole music structure, it is pointed out that several themes, motivation, sound type, overall speed layout, as well as the three string timbre, which are characteristic musical instruments, have formed the musical structure force. The second chapter, "Audio Technology and means of dramatic expression", analyzes the technical problems such as rhythm, rhythm, multi-tone techniques and the means of dramatic expression of instrumental music in opera, such as the dramatic performance function of instrumental music, the performance value of timbre, etc. The third chapter, "methods of portraying characters", reveals the whole idea of creating characters in the play and the role of voice in the process of portraying characters. The following part mainly discusses the musical features of the Night Banquet. Chapter 4th, "the whole structure and the main structural Force," holds that the play is a kind of drama structure which is "isomorphic and contrasted in the system of two tenses of statement". This structure is the result of the direct mapping of the drama content to the drama structure. And several themes, such as Han Palace and Autumn Moon, are the core structural force of the musical structure of the play. Finally, From the two literary scripts in the course of the creation of "Night Banquet", some reflections on the relationship between drama and music have been initiated. Section 1 of Chapter 5th points out that the play's texture form, rhythm and rhythm, polyphonic techniques, modulation and other technical means, etc. Both reflect the characteristics of Chinese monophonic music thinking, and think that this sound structure logic is the technical core of forming the characteristics of Chinese literati music. The second section starts with the special functions of opera instrumental music and analyzes the pipa, respectively. Chapter 6th focuses on the problem of portraying characters, and holds that "doing dynamic processing on the basis of reasonable orientation" is its general characteristic, and the multi-dimensional and unified singing style. The freely changing forms of expression, and the application of multi-sound means, such as help cavity and duet, greatly enriched the expressive power of human voice drama. The conclusion summarizes the artistic characteristics of the two plays and puts forward their own views on the positive significance of the two plays to the creation of modern Chinese opera.
【學(xué)位授予單位】：中央音樂(lè)學(xué)院
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2006
【分類(lèi)號(hào)】：J617.2

【引證文獻(xiàn)】

相關(guān)博士學(xué)位論文 前2條

1 劉潔;多元碎片的鏡面還原[D];中央音樂(lè)學(xué)院;2012年

2 李小兵;“音勢(shì)”[D];中央音樂(lè)學(xué)院;2012年

相關(guān)碩士學(xué)位論文 前5條

1 侯s，

本文編號(hào)：1637076