本文選題：一勾勾　切入點(diǎn)：音樂(lè)本體分析　出處：《中國(guó)藝術(shù)研究院》2010年碩士論文　論文類(lèi)型：學(xué)位論文

【摘要】： “一勾勾”是由高唐一帶的花鼓逐漸發(fā)展衍變而成的地方戲曲劇種,主要流行于魯西北地區(qū)的德州、聊城以及河北省的部分地區(qū),以德州臨邑一帶最為盛行。由于該劇種唱腔帶有一謳或者一吼,演唱起來(lái)一謳吼一謳吼的,所以被當(dāng)?shù)厝罕姺Q(chēng)為“一勾勾”。清代中葉在以上地區(qū)就有藝人組成班社,并帶徒傳藝,20世紀(jì)50年代臨邑縣曾成立專(zhuān)業(yè)劇團(tuán)。該劇種保留傳統(tǒng)劇目70余出,唱腔結(jié)構(gòu)體制為板腔體,旋律富有濃郁的地方色彩和鄉(xiāng)土氣息,當(dāng)?shù)厝罕娪H切地稱(chēng)其為“半碗蜜”、“咬斷弦”和“栓老婆橛子”,有深厚的群眾基礎(chǔ)。20世紀(jì)80年代后逐漸衰退,2006年5月20日,“一勾勾”成功申報(bào)第一批國(guó)家級(jí)非物質(zhì)文化遺產(chǎn)。目前有“一勾勾”傳播基地在活動(dòng)。 以往關(guān)于“一勾勾”的研究多偏重于簡(jiǎn)單的旋律記載,筆者的這篇論文則是將“一勾勾”這樣一個(gè)古老的劇種放在非遺的視角下進(jìn)行重新審視的同時(shí),對(duì)其發(fā)展歷史進(jìn)行全面梳理,力求從音樂(lè)方面對(duì)“一勾勾”戲曲的曲調(diào)來(lái)源、唱腔結(jié)構(gòu)、調(diào)式調(diào)高以及伴奏音樂(lè)作全面的分析；并在實(shí)地考察的基礎(chǔ)上,對(duì)“一勾勾”傳承人以及傳播中心進(jìn)行調(diào)查和研究,希望能比較真實(shí)客觀地描述“一勾勾”目前的生存現(xiàn)狀,揭示“一勾勾”的本質(zhì)特征,為其傳承和保護(hù)作一些基礎(chǔ)性的工作。
[Abstract]:"one hook" is a kind of local opera drama developed gradually from the flower drum in Gaotang area. It is mainly popular in Texas, Liaocheng and parts of Hebei Province in northwest Shandong. It is most popular in Linyi, Texas. Because this kind of play has a song or a song, a song, a song, a song, a song, a song, a voice, so it is called "a hook and a hook" by the local people. In the middle of the Qing Dynasty, there were artists in the above areas to form a club. In 50s, a professional troupe was set up in Linyi County, where more than 70 traditional repertoire were produced. The singing structure system was a board cavity with rich local color and local flavor. The local people affectionately called it "half bowl of honey", "bite the string" and "pin the wife", which had a deep mass base. After 80s, the foundation of the masses declined gradually. In May 20th 2006, the "one hook" successfully declared the first batch of national non-material. Cultural heritage. At present, there is a "one hook" dissemination base in activities. Previous studies on "one tick" have focused more on simple melody records, while the author's paper is to re-examine the ancient drama "one tick" from the perspective of non-legacy. In order to make a comprehensive analysis of the origin of the tune, the structure of the tune, the mode of tuning and the accompaniment of the opera from the aspect of music, and on the basis of the field investigation, the author makes a comprehensive analysis of its history of development, and tries to make a comprehensive analysis of the origin of the tune, the structure of the singing and the accompaniment. Through the investigation and research on the inheritors and communication centers of "one tick", the author hopes to describe the existing situation of "one hook" objectively and realistically, and to reveal the essential characteristics of "one tick". For its inheritance and protection to do some basic work.
【學(xué)位授予單位】：中國(guó)藝術(shù)研究院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2010
【分類(lèi)號(hào)】：J825

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