【摘要】：從音樂角度完整梳理戲曲聲腔的專著,在戲曲及戲曲音樂研究中尚未見有。 如此現(xiàn)狀,為本論文提供了很大的研究空間。 筆者以“全國戲曲音樂集成”卷本為對象,根據(jù)入卷聲腔的實際情況,結(jié)合 集成各種形式的文本資料,將聲腔詞語使用及概念進行論說。以音樂本體為主要 研究對象,在歷史與客觀考量的前提下,提出“同源共祖、曲調(diào)沿用、用中有變、 變不離宗’’的聲腔限定十六字標(biāo)準(zhǔn)。并就現(xiàn)有戲曲聲腔整體性梳理與重組問題, 提出自己的看法、思路與建議。 本論文聲腔梳理的指導(dǎo)思想是: 一、從音樂的角度出發(fā),強調(diào)音樂屬性之共同性。依照聲腔“曲調(diào)沿用”之 客觀規(guī)律,將那些音樂風(fēng)格相近的聲腔合,反之拆; 二,本次只梳理部分劇種音樂中起主要作用的聲腔; 三,對于那些數(shù)量眾多、在劇種音樂中處于非主要地位的聲腔,擬在以后的 繼續(xù)研究中逐步進行,此次暫不考慮; 四,中國戲曲劇種眾多,聲腔情況極其復(fù)雜,非一人在短期內(nèi)能予全部厘清。 本文謹(jǐn)就部分聲腔的探索,拋磚引玉。并將此課題列為筆者今后之專攻。 本論文按照中國戲曲音樂集成》各劇種主要聲腔之記載,遵循戲曲音樂形 態(tài)與結(jié)構(gòu)的客觀規(guī)律,將戲曲聲腔劃分為三個大的類型。即:全國性傳播聲腔; 地區(qū)性傳播聲腔;非傳播性聲腔。各大類型中,分別以群體聲腔與單體聲腔辨之。
[Abstract]:From the point of view of music, it has not yet been found in the study of opera and opera music. This situation provides a lot of research space for this paper. The author takes the volume of "National Opera Music Integration" as the object, according to the actual situation of the voice cavity, combined with the integration of various forms of text data, the use and concept of vocal cavity words are discussed. Taking the music Noumenon as the main research object, under the premise of historical and objective consideration, this paper puts forward that "the same origin and common ancestor, the tunes are used, and there are changes in use." The vocal cavity of Zong'is limited to the standard of sixteen characters. And on the existing opera voice integrity combing and reorganization, put forward their own views, ideas and suggestions. The guiding ideology of this paper is as follows: first, from the perspective of music, emphasize the commonality of music attributes. According to the objective law of "tunes used" in the vocal cavity, the vocal cavities with similar musical styles are combined, and the other is disassembled. Second, this time only combs the vocal cavities that play a major role in some kinds of music. Third, for those who have a large number of vocal cavities, which are in a non-dominant position in the drama music, it is intended to be carried out step by step in the further study, which will not be considered for the time being; Fourth, there are many kinds of Chinese opera, the vocal cavity is extremely complex, not one person can be clarified in a short period of time. In this paper, I would like to explore some of the sound cavity, throwing bricks to attract jade. And this topic as the author's future specialties. According to the records of the main vocal cavities of Chinese opera music integration and the objective law of the shape and structure of opera music, this paper divides the opera vocal cavity into three types. That is: national propagation cavity; regional propagation cavity; non-propagating sound cavity. Among the major types, the group cavity and the single cavity were identified respectively.
【學(xué)位授予單位】：福建師范大學(xué)
【學(xué)位級別】：博士
【學(xué)位授予年份】：2005
【分類號】：J617

【引證文獻(xiàn)】

相關(guān)期刊論文 前1條

1 吉莉;;說唱還是歌舞——論河南曲劇的聲腔類別[J];戲劇文學(xué);2012年06期

相關(guān)博士學(xué)位論文 前3條

1 韓啟超;音樂在戲曲繼替變革中的作用[D];南京藝術(shù)學(xué)院;2008年

2 郭威;曲子的發(fā)生學(xué)意義[D];中國藝術(shù)研究院;2010年

3 郭小青;《唱論》辨析[D];中國藝術(shù)研究院;2012年

相關(guān)碩士學(xué)位論文 前4條

1 王欣欣;山東諸城茂腔之研究[D];山東師范大學(xué);2010年

2 李紅竹;永州花鼓戲唱腔研究[D];四川師范大學(xué);2012年

3 張冠嵐;二十世紀(jì)二、三十年代的戲曲聲腔研究[D];中國戲曲學(xué)院;2013年

4 連一蘋;福建莆仙文化區(qū)的胡琴類樂器研究[D];福建師范大學(xué);2013年

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本文編號：2477470