本文選題：越調(diào) + 毛愛蓮　； 參考：《浙江師范大學》2016年碩士論文

【摘要】：作為一個歷史悠久,且是河南地方戲曲的三大劇種之一的越調(diào),其本身有著極為重要的研究價值。追溯源流,它主要分布于于河南省的南部、東部,以及湖北省的西北地區(qū)、陜西省的東南部分、安徽省西北的一部分、山西省的東南和河北省的南部的部分地區(qū)。興盛于十九世紀末二十世紀初之際,20世紀40年代之后開始走向衰落。黨的十一屆三中全會召開之后,逐漸復蘇,但是這種狀況持續(xù)的時間并不長久,60年代再度面臨戲曲危機�？v觀越調(diào)的整個發(fā)展歷程是屬于跌宕起伏式的。2006年被列為國家級第一批的非物質(zhì)遺產(chǎn),2008年著名越調(diào)表演藝術家毛愛蓮被列為國家級非物質(zhì)文化遺產(chǎn)越調(diào)代表性傳承人。越調(diào)有著獨具魅力的表演風格和扎實的群眾基礎,是一個無論在文化資源豐富抑或是學科領域,都有著極為廣泛并有著極高研究價值和保留價值的劇種。筆者對本文將進行五個部分且對越調(diào)音樂進行深刻的分析論述。第一部分：越調(diào)音樂的劇種概述。本章內(nèi)容,筆者就關于越調(diào)音樂,對此劇種的文獻資料進行整理歸納,并進行合理性的總結(jié)與思考；發(fā)展歷程則是從越調(diào)音樂的產(chǎn)生、發(fā)展、興盛和衰落以及再興盛、再衰落這幾部分進行總結(jié)的。越調(diào)音樂的劇目分類則是從越調(diào)大小傳統(tǒng)劇目500出左右中分析歸納出正裝戲和外裝戲兩大類。越調(diào)音樂的主要流派則是從河南的地域分布、演唱風格和藝術形式來劃分為婉約派和豪放派兩大流派。第二部分：毛愛蓮的藝術人生。本章內(nèi)容,筆者就越調(diào)婉約派的代表人物毛愛蓮的藝術人生進行分析和整理,分別從毛愛蓮的藝術生涯、藝術成就、人才的培養(yǎng)幾個方面進行分析。第三部分：毛愛蓮的戲曲唱腔研究。筆者就毛愛蓮的戲曲唱腔研究分別從毛愛蓮的戲曲人物特征、毛愛蓮的戲曲唱腔特征、毛愛蓮的戲曲風格特征幾個方面進行論述的,突出其自身唱腔的特殊性。第四部分：毛愛蓮對越調(diào)音樂的傳承與改革。在本章內(nèi)容,筆者就毛愛蓮對越調(diào)音樂的傳承與改革進行了分析與梳理。一是對越調(diào)的傳承從融會貫通、博采眾長兩個方面分析；二是對越調(diào)音樂的改革從與時俱進、固本求變、緊貼人物三個方面論述的。第五部分：越調(diào)音樂唱腔的審美特征。本章內(nèi)容,筆者是從戲曲唱腔的美學價值、戲曲人物形象的美學價值兩方面分析的,其中通過思考與現(xiàn)有的資料看,如何保持與時俱進與大眾審美觀保持一致,提出自己的想法。第六部分：以越調(diào)“毛派”為例,對戲曲流派當下傳承的思考并提出的策略。本章內(nèi)容,筆者是從擴大越調(diào)影響力、加強人才隊伍建設、增加越調(diào)的宣傳力度、打造越調(diào)精品劇目四方面進行思考的。
[Abstract]:As a long history and one of the three kinds of Henan local opera, Yue Diao has its own extremely important research value. It is mainly distributed in the south and east of Henan Province, as well as in the northwest part of Hubei Province, the southeast part of Shaanxi Province, the part of northwest Anhui Province, the southeast part of Shanxi Province and the part of southern part of Hebei Province. It flourished in the late nineteenth century and the early twentieth century, and began to decline after the 1940s. After the third Plenary session of the 11th CPC Central Committee, the party gradually recovered, but this situation did not last for a long time. In 2006, it was listed as the first batch of national intangible heritage, and in 2008 the famous Yue Diao performing artist Mao Ailian was listed as the representative inheritor of the national intangible cultural heritage. Yuanyuan has a unique and charming acting style and a solid mass foundation. It is a kind of drama with extremely extensive research value and high retention value, no matter in the rich cultural resources or in the subject field. The author will carry on five parts to this text and carry on the profound analysis and exposition to the overtone music. The first part: an overview of overtone music. In this chapter, the author collates and summarizes the literature about Yue tune music, and sums up and ponders the rationality of it. The course of development is from the generation, development, prosperity, decline and re-prosperity of Yue tune music. Then the decline of these parts of the summary. The repertoire classification of overtone music is to analyze and generalize two categories of formal drama and outfitting play from about 500 traditional repertoire. The main schools of Yue tune music are divided into two schools from the regional distribution, singing style and artistic form of Henan. The second part: Mao Ailian's artistic life. In this chapter, the author analyzes and arranges the artistic life of Mao Ailian, the representative figure of Yue Diao graceful School, from the aspects of Mao Ailian's artistic career, artistic achievements and the cultivation of talents. The third part: Mao Ailian's opera singing research. The author discusses Mao Ailian's opera singing from the aspects of Mao Ailian's characters, Mao Ailian's opera singing and Mao Ailian's opera style, which highlights the particularity of her own singing. The fourth part: the inheritance and reform of Yue tune music by Mao Ailian. In this chapter, the author analyzes and combs the inheritance and reform of Yue tune music by Mao Ailian. The first is to analyze the inheritance of Yue tune from two aspects: integration and extensive learning; second, the reform of Yue tune music from three aspects: keeping pace with the times, maintaining the foundation and seeking change, and clinging to the characters. The fifth part: the aesthetic characteristics of Yue tune music. In this chapter, the author analyzes the aesthetic value of the opera singing and the aesthetic value of the character image of the opera, among which, through thinking and the existing materials, how to keep pace with the times and keep consistent with the public aesthetics, Come up with your own ideas. The sixth part: taking the Maoist school as an example, thinking about the inheritance of opera school and putting forward the strategy. The content of this chapter, the author is from the expansion of influence, strengthen the construction of talent team, increase the tone of propaganda, create more fine plays four aspects of thinking.
【學位授予單位】：浙江師范大學
【學位級別】：碩士
【學位授予年份】：2016
【分類號】：J617.5

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