本文選題：寧河戲 + 小生��； 參考：《中央民族大學(xué)》2011年碩士論文

【摘要】：寧河戲是江西省特有的古老的大型地方劇種之一,古稱“寧州大戲”,發(fā)源于江西省修水縣,迄今已有四百多年的歷史,具有顯著的地方特色和藝術(shù)風(fēng)貌。曾在贛西北修水、武寧、銅鼓等縣以及贛、鄂、湘毗鄰地區(qū)廣為流行,深受群眾喜愛。寧河戲最初是由酬神還愿的儺戲發(fā)展而成,經(jīng)過幾百年的發(fā)展和演變,逐漸形成了以皮簧腔為主、兼收昆曲、徽調(diào)和民歌小調(diào)的綜合聲腔體——亂彈腔(屬皮黃聲腔體系)。行當(dāng)劃分十分齊全,早期為“九角頭”(即三生、三旦、三凈),后受徽班影響,改為“十頂網(wǎng)子”外加四個貼補(即一末、二凈、三生、四旦、五丑、六外、七小、八貼、九夫、十雜和生、旦、凈和閨門旦四個貼補)。主要伴奏樂器為：胡琴、月琴、三弦三大件及嗩吶、笛子和打擊樂器組成。 在寧河戲的各個行當(dāng)中,小生行當(dāng)是最難訓(xùn)練、人才最稀缺的一個行當(dāng),但同時也是最富有藝術(shù)魅力和表現(xiàn)力的行當(dāng)。首先,寧河戲小生的用嗓方法不同于其他行當(dāng),講究的是“本嗓”與“小嗓”的結(jié)合；其次,寧河戲小生的咬字行腔有著嚴格的要求,必須遵從“唱功字當(dāng)先,字正腔始圓,腔必跟字走,字音在腔前�！边@二十字要訣；最后,寧河戲小生非常注重演唱情感的表達,演唱時必須做到“唱字即是唱情,情出于字,字抒于情”。經(jīng)過一代又一代小生演員們在舞臺上的藝術(shù)實踐,積累了豐富的演唱經(jīng)驗和方法,包括小生唱腔的氣息、共鳴、用嗓方法、咬字吐字、行腔潤腔等方面,為小生唱腔的發(fā)展做出了重要的貢獻。除此之外,經(jīng)過筆者的調(diào)查研究,總結(jié)出了小生唱腔的三個演唱特性：語言的地方性、音色的傳統(tǒng)性和方法的開放性,以及小生唱腔“依字出聲、長短依情、分句斷句、重在唱情”的藝術(shù)特征。 本文除緒論和結(jié)語外,共分為三個章節(jié)進行論述。緒論部分闡述了本文研究的對象、背景、意義、現(xiàn)狀和方法五個方面。第一章是對寧河戲及其“小生”的概述,分別從寧河戲的源流、主體聲腔及音樂結(jié)構(gòu)、還有小生及其行當(dāng)?shù)奶攸c三個方面進行了梳理和論述,第一節(jié)主要介紹了寧河戲的起源、各個時期的發(fā)展情況以及寧河戲的基本特征,第二節(jié)則從寧河戲的主體聲腔和音樂結(jié)構(gòu)上進行了論述,第三節(jié)主要是對本文的研究對象“寧河戲小生”進行簡要的概述；第二章是文章最重要的部分,是筆者經(jīng)過對“寧河戲”小生唱腔的考察和研究后,系統(tǒng)地分析了寧河戲小生唱腔的演唱方法、咬字吐字和潤腔技巧,并對其演唱特性和藝術(shù)特征進行了總結(jié)；第三章主要是結(jié)合筆者幾年學(xué)習(xí)聲樂中的一些粗淺認識,通過解析寧河戲小生唱腔演唱方法的可行性和優(yōu)越性,從用嗓方法、咬字行腔和演唱情感三個方面,論述了民族聲樂對寧河戲小生唱腔的借鑒。
[Abstract]:Ninghe Opera is one of the most ancient local operas in Jiangxi Province. It originated in Xiushui County, Jiangxi Province. It has a history of more than 400 years and has remarkable local characteristics and artistic features. Xiushui in northwest Jiangxi, Wuning, Tonggu counties, as well as Jiangxi, Hubei, Hunan adjacent areas, popular, deeply loved by the masses. Ninghe Opera was originally developed from the Nuo opera which paid God for his vows. After several hundred years of development and evolution, it gradually formed a comprehensive vocal cavity, which is composed of Kun Opera, Hui tune and folk song minor, which is composed of leather spring cavity and folk song tune. The division of the business was very complete. In the early days, it was "Jiu Jiao Tou" (that is, Sansheng, Sandan, Sanjing), and later affected by the emblem class, it was changed to "ten top nets" plus four supplements (i.e., one end, two net, three health, four days, five ugliness, six outer, seven small, eight stickers). Nine husband, ten miscellaneous and born, Dan, net and boudoir Dan four patches. The main accompaniment instruments are: Hu Qin, Yueqin, three pieces of three strings and suona, flute and percussion instruments. Among the various trades of Ninghe Opera, Xiao Sheng is the most difficult to train, the scarcest talent, but also the most artistic charm and performance of the industry. First of all, the method of using the voice of Xiaosheng in Ninghe Opera is different from that of other trades. He stresses the combination of "the original voice" and "the small voice"; secondly, the pronunciation of the line of words of Xiao Sheng of the Ninghe opera has strict requirements, and must comply with the "singing skill should first be the first word, the character is the beginning of the circle," The words must follow the words, and the sounds are in front of them. " Finally, Ninghe opera Xiao Sheng pays great attention to the expression of singing emotion. When singing, he must "sing the words, express the words". Through the artistic practice on the stage of generation after generation of actors and actresses, they have accumulated rich experience and methods of singing, including the breath of his singing, resonance, using his voice method, spelling words, and running her voice, and so on. For the development of Xiao Sheng singing made an important contribution. In addition, through the author's investigation and research, the author summarizes the three singing characteristics of Xiao Sheng's singing: the local language, the tradition of timbre and the openness of the method, and Xiao Sheng's singing "according to the word, the length according to the situation, the sentence break," The emphasis is on the artistic characteristics of "singing love". In addition to the introduction and conclusion, this article is divided into three chapters. The introduction describes the object, background, significance, current situation and methods of this study. The first chapter is an overview of Ninghe Opera and its "Xiaosheng", respectively from the source of Ninghe Opera, the main voice and music structure, as well as the characteristics of Xiaosheng and his business. The first section mainly introduces the origin of Ninghe Opera. The development of each period and the basic characteristics of Ninghe opera, the second section is from the main voice and music structure of Ninghe opera, the third section is a brief overview of the research object of this paper, "Ninghe Opera Xiao Sheng"; The second chapter is the most important part of the article, is the author of the "Ninghe Opera" after the investigation and study of the singing, the author systematically analyzed the singing methods, pronunciation and moistening techniques. The third chapter mainly combined with the author's several years of learning vocal music in some superficial understanding, through the analysis of the Ninghe opera singing method feasibility and superiority, from the voice method, This paper discusses the reference of national vocal music to the singing of Xiaosheng in Ninghe Opera.
【學(xué)位授予單位】：中央民族大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2011
【分類號】：J825

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