本文關(guān)鍵詞： 巴厘皮影戲 根德爾哇揚(yáng) 音樂形態(tài) 社會功能　出處：《中央音樂學(xué)院》2011年碩士論文　論文類型：學(xué)位論文

【摘要】：根德爾哇揚(yáng)四重奏是巴厘最耀眼的一種小型樂隊(duì),四件根德爾樂器卻具有可媲美多種樂器組合而成的甘美蘭樂隊(duì)的表現(xiàn)力,它主要為巴厘皮影戲伴奏,以樂隊(duì)成員間默契配合下令人炫目的演奏技巧譽(yù)滿世界。本文意圖揭示巴厘皮影戲中達(dá)郎、皮影人、樂師之間,聲樂與器樂之間,人物、情節(jié)、場景與音樂語匯各個(gè)要素間的內(nèi)在邏輯關(guān)系。這些內(nèi)在秩序?qū)嶋H是與巴厘人獨(dú)特的意識形態(tài)世界以及特殊的“尼加拉劇場式”社會組織結(jié)構(gòu)關(guān)系相一致的。集體性、組織性、單位化使得巴厘皮影戲音樂在靈活的戲劇變化沖突下實(shí)際有著嚴(yán)謹(jǐn)?shù)某淌竭\(yùn)行模式,它們是指根德爾哇揚(yáng)音樂中的旋律形態(tài)、演奏技巧,多重層次的節(jié)奏節(jié)拍、速度力度、音色音域、曲式結(jié)構(gòu)等基本音樂元素組合搭配出各式音樂語匯,達(dá)到聲情并茂表演皮影戲的目的。然而,巴厘的皮影戲劇不同于西方戲劇或歌劇那樣具有專用性的音樂描繪語言,巴厘戲劇是一種以共用音樂材料為基礎(chǔ)隨機(jī)性的音樂發(fā)展方式,象征性的指代那些類型化的雅俗角色、悲喜情感、靜動場合。因此,本文將皮影戲全劇格局劃分為固定場景和變化場景,通過解構(gòu)分析各類場景中用以塑造戲劇內(nèi)部各元素的音樂語言的“語法”規(guī)律,來說明為皮影戲伴奏的根德爾哇揚(yáng)音樂是一種外在自由靈活,內(nèi)有邏輯法則的音樂藝術(shù)。此外皮影戲中具有不同戲劇功能的根德爾哇揚(yáng)樂曲,其功能原則與為巴厘各類宗教儀式伴奏的根德爾哇揚(yáng)樂曲的使用原則是一致的。
[Abstract]:The Gunderwayan Quartet is one of Bali's most dazzling small bands, but the four Gendel instruments have the power to match the gamelan band composed of a variety of musical instruments, mainly accompanied by Balinese shadow plays. This article aims to reveal the characters and plot of the Balinese shadow play, between the dahlang, the shadow person, the musician, the vocal music and the instrumental music. The internal logical relationship between the scene and the elements of the musical vocabulary. These internal orders are actually consistent with the unique ideological world of the Balinese and the special "Niagara theater" social organizational structure. The unitization makes Bali shadow play music actually have a rigorous program operation mode under the flexible dramatic change conflict. They refer to the melodic form, playing skills, multi-level rhythm, and speed in Genderwayan music. The combination of basic musical elements, such as timbre range, musical structure and so on, matches all kinds of musical words to achieve the purpose of performing shadow play with both voice and emotion. However, Balinese shadow dramas are different from Western plays or operas in their special-purpose musical description language. Bali drama is a random musical development based on common musical materials, symbolically referring to those types of elegant and vulgar characters. Therefore, the whole play pattern of shadow play is divided into fixed scenes and changing scenes. By deconstructing and analyzing the "grammar" of musical language used to shape the elements of drama, To illustrate that the Genderwayan music accompanied by shadow plays is a kind of music art with external freedom and flexibility and logic. In addition, in shadow plays, there are different theatrical functions of Genderwayan music. Its functional principles are consistent with the use of Genderwoyan music, which accompanies various religious ceremonies in Bali.
【學(xué)位授予單位】：中央音樂學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2011
【分類號】：J827

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本文編號：1549615