本文選題：羅卷戲　切入點：音樂　出處：《河南大學》2009年碩士論文　論文類型：學位論文

【摘要】： 本文所研究的對象羅卷戲是明代末期發(fā)源于駐馬店汝南的卷戲和清代初期流入汝南的羅戲。因卷戲的主奏樂器是小嗩吶(俗稱小笛子),所以民間也叫小笛子戲。因羅戲的主奏樂器是大嗩吶,民間也稱其為大笛子戲、大笛子羅羅。后來因卷戲善演文場戲,羅戲善演武場戲,為達到兩個劇目相互補益,文武兼而有之的演出效果,所以兩個劇目經(jīng)常同臺演出,因此,群眾稱之為“卷羅同臺兩下湯”。到了民國以后,群眾就習慣直呼“卷羅戲”或“羅卷戲”,而不加區(qū)分了。 本文從羅卷戲歷史淵源與發(fā)展現(xiàn)狀、唱腔音樂藝術、演唱風格、伴奏等幾個方面初步研究了汝南羅卷戲的藝術特征,全文除了序言與結語外,共分四個部分。 第一部分為概述。筆者通過綜合相關史料和藝人相傳的口碑深入分析研究,論證了明代末期發(fā)源于駐馬店汝南的卷戲和清代初期流入汝南的羅戲這兩個獨具特色、古老稀有的民間傳統(tǒng)劇種,在汝南縣誕生已有360多年的歷史淵源以及發(fā)展現(xiàn)狀。 第二部分為羅卷戲的唱腔藝術。筆者通過對它們唱腔音樂結構、戲文詞格的研究,比較詳細地梳理了羅卷戲唱腔結構和戲文詞格,總結了它們的常用曲牌板式、并分別舉例加以說明其唱腔藝術的豐富多彩及其獨特性。 第三部分為羅卷戲的演唱風格。筆者在這一章節(jié)里從方言演唱、有支持的呼吸、潤腔技巧、以及聲情并茂的演唱藝術等幾個方面闡述了汝南羅卷戲真聲咬字、假聲行腔這一獨特的演唱方法和技巧,具有濃厚的地方鄉(xiāng)音色彩,繼承發(fā)展了其它劇種所不具備的表演特色。 第四部分為羅卷戲伴奏。流行于汝南縣的羅卷戲,其伴奏羅戲除了一般戲劇樂隊常用的小五件外,別具特色的是還配有一套特殊的打擊樂器——四大扇。羅卷戲中的鑼鼓點也大大不同于其他劇種,形成了別具一格的打擊特色。其伴奏樂隊都是除打擊樂器外,只配有吹管樂器伴奏唱腔而都不使用弦樂。
[Abstract]:The object of this study is the scroll opera originated in Runan Zhumadian in the late Ming Dynasty and the Luo Opera which flowed into Runan in the early Qing Dynasty. The main instrument of the scroll play is the small suona (commonly called the small flute), so the folk is also called the Xiaodizi opera. The main instrument of Inluo Opera is the big suona. Folk people also call it the big flute opera, the big flute Luo Luo. Later on, because of the scroll play, the Luo opera was good at performing the literary scene, and the Luo opera was good at performing the martial arts. In order to achieve the performance effect that the two plays complement each other, the two plays often performed together, so the two plays often performed on the same stage. After the Republic of China, the masses were used to calling the "Scroll play" or "Luo Scroll Opera" without distinction. This paper studies the artistic characteristics of Runan Luo Scroll from the aspects of historical origin and present situation, singing style, singing style and accompaniment, etc. The full text is divided into four parts except preface and conclusion. The first part is an overview. By synthesizing relevant historical data and the word-of-mouth analysis of artists, the author demonstrates the unique features of the scroll dramas originated from Zhumadian Runan in the late Ming Dynasty and the Luo Opera which flowed into Runan in the early Qing Dynasty. The ancient and rare folk traditional drama has been born in Runan County for more than 360 years. The second part is the singing art of Luo roll opera. Through the study of their singing music structure and the style of the words in the play, the author combs the singing structure and the style of the words in the play in detail, and summarizes their commonly used song-board style. Examples are given to illustrate the variety and uniqueness of its singing art. The third part is the singing style of Luo roll drama. In this chapter, the author expounds the real pronunciation of Runan Luo roll drama from several aspects, such as dialect singing, supportive breathing, moistening technique, and singing art with mixed feelings. The unique singing method and technique of falsetto, which has strong local local sound color, inherits and develops the performance characteristics that other kinds of plays do not have. The 4th part is the accompaniment of the Luo roll opera. The Luo roll opera, popular in Runan County, is accompanied by five pieces, except for the five pieces commonly used by the general theatrical band. What is unique is that it also has a special percussion instrument-the four big fans. The gongs and drums in the Luo roll opera are also greatly different from other kinds of plays, forming a unique attack feature. The accompaniment bands are all except percussion instruments. No strings are used except for wind instruments.
【學位授予單位】：河南大學
【學位級別】：碩士
【學位授予年份】：2009
【分類號】：J825

【引證文獻】

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本文編號：1623595