本文選題：豫劇 + 唱腔��； 參考：《福建師范大學(xué)》2012年博士論文

【摘要】：本文試圖選取最具解釋力的方向討論豫劇唱腔從1900年代到1960年代六十余年在腔音、腔音列、腔節(jié)／腔韻、樂句、樂段、腔調(diào)、腔套、腔系、音階調(diào)式等方面的動(dòng)態(tài)變化,以期探求板腔體唱腔發(fā)展的規(guī)律。 祥符調(diào)早期唱腔表現(xiàn)出“(活)唱—(定)腔—(伴奏)樂”分節(jié)式變化的動(dòng)態(tài)規(guī)律,是山陜文化與中原文化分流—同化的辯證統(tǒng)一! 1900年前后豫東調(diào)和豫西調(diào)不約而同地放棄梆子腔系共性的謳腔,分別采用上五音和下五音,開啟了豫劇史上唱腔改革的先聲,是河南梆子文化內(nèi)部一次裂變。 1930—1940年代以豫東調(diào)與豫西調(diào)的合流為特征,豫劇坤角分別在開封、西安,祥符調(diào)、沙河調(diào)、豫西調(diào)在界首同臺(tái)搭班,開啟了諸派相互吸收與借鑒的融合時(shí)代,體現(xiàn)了豫劇資源優(yōu)化重組、能量聚集后的聚變特征。 1950—1960年代豫劇經(jīng)歷了一次更大規(guī)模的全面的改革。一是改編傳統(tǒng)戲,如常香玉演出的“紅、白、花”就是整理改編傳統(tǒng)劇目的優(yōu)秀成果；二是豫劇現(xiàn)代戲在創(chuàng)新板式、手法的基礎(chǔ)上創(chuàng)造新唱腔：對生角唱腔進(jìn)行了改革,形成了新派生角唱腔,引入了現(xiàn)代音樂元素合唱、重唱等,最終獲得了現(xiàn)代戲如《朝陽溝》等的巨大成功,呈現(xiàn)出新聲迭起,活力四射的窯變特征。 豫劇唱腔結(jié)構(gòu)六十年動(dòng)態(tài)變遷呈現(xiàn)出嬗變之三義——變易、簡易、不易,變易體現(xiàn)了器的維度,簡易體現(xiàn)了道的維度,道與器發(fā)顯為體用的統(tǒng)一,申張出豫劇的本位恒常,即不易。嬗變之三義彰顯出中華傳統(tǒng)思維陰陽以和,生生不息的辯證。
[Abstract]:This paper attempts to choose the most explanatory direction to discuss the dynamic changes of the singing of Henan opera from 1900s to 1960s in the aspects of cavity sound, phonetic sequence, cavity / rhyme, phrase, segment, tone, cavity, sleeve, system, scale, and so on. In order to explore the development of board cavity singing law. In the early stage of Xiangrong tune, the dynamic law of "(live) singing-(setting) tune-(accompaniment) music" was shown. It is the dialectical unity of shunt and assimilation between Shanshan culture and Central Plains culture! around 1900, the Eastern Henan Province and the Western Henan tune gave up the common mantra of the Bangzi system and adopted the upper five notes and the lower five notes respectively. It is a fission within the culture of Henan Bangzi. In the 1930-1940 's, it was characterized by the confluence of eastern Henan and western Henan, in Kaifeng, Xi'an, Xiangfu, Shahe, respectively, in Kaifeng, Xi'an, Xiangfu, and Shahe. The western Henan province was transferred to the same station in the border, which opened the fusion era of the different schools' mutual absorption and reference, and embodied the optimization and reorganization of the resources of Henan opera. The characteristics of fusion after energy accumulation. Henan opera experienced a larger scale comprehensive reform in 1950-1960 s. One is the adaptation of traditional drama, such as "Red, White, and Flower" performed by Chang Xiangyu, which is the excellent result of arranging and adapting the traditional repertoire; the other is that the modern opera of Henan Opera has created a new singing style on the basis of innovating the board style and means: the singing of the living horn has been reformed. New derivative singing was formed, and modern music elements were introduced, such as chorus, duet and so on. Finally, great success of modern opera such as Chaoyang ditch was obtained. The dynamic changes in the singing structure of Henan opera over the past 60 years present three meanings of transmutation, which are simple, difficult, and easy to reflect the dimension of the instrument, the dimension of Tao, the unity of the Tao and the appearance of the organ as the body, and the constant standard of the Henan opera. Not easy. The three meanings of transmutation reveal the dialectical of yin and yang in Chinese traditional thinking.
【學(xué)位授予單位】：福建師范大學(xué)
【學(xué)位級別】：博士
【學(xué)位授予年份】：2012
【分類號(hào)】：J825

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