【摘要】：京劇在長期的歷史發(fā)展過程中,通過藝術(shù)融合積淀出自己獨(dú)具特色的聲腔特征與風(fēng)格,也曾一度是全國戲曲品種的中心,因此京劇可以說是極具代表性的劇種(特別是在板腔體戲曲音樂中)�！顿F妃醉酒》,在京劇的發(fā)展史中占據(jù)著特殊的地位,尤其是對(duì)于梅派唱腔來說,更具里程碑意義。該劇不僅展現(xiàn)了梅派唱腔獨(dú)特的藝術(shù)魅力,也從中反映出對(duì)京劇唱腔藝術(shù)的重要影響。 本文主要運(yùn)用分析比較、舉例論證等方法,選取京劇梅派經(jīng)典劇目之一——《貴妃醉酒》唱腔為研究對(duì)象,以梅蘭芳先生的唱腔為參照,對(duì)其唱腔音樂特征進(jìn)行分析,又與同流派(梅派)、異流派(尚派、張派等)的代表性藝術(shù)家的唱腔特點(diǎn)進(jìn)行比對(duì)。并試圖梳理《貴妃醉酒》唱腔在時(shí)代文化發(fā)展中的運(yùn)用以及創(chuàng)新,期以探索該劇在音樂文化中的借鑒價(jià)值以及發(fā)展前景。 第一章以梅蘭芳先生演繹《貴妃醉酒》的唱腔為分析對(duì)象,對(duì)該劇的唱腔設(shè)計(jì)、結(jié)構(gòu)以及音樂特征的梳理與分析。 第二章在第一章的研究基礎(chǔ)上先將梅派代表藝術(shù)家和其他流派的代表藝術(shù)家的唱腔進(jìn)行記譜,然后對(duì)各藝術(shù)家的唱腔特色進(jìn)行分析。 第三章按照時(shí)代發(fā)展的過程,在新興音樂藝術(shù)形式的變化、發(fā)展中,對(duì)《貴妃醉酒》的具體應(yīng)用作出多元分析。 通過對(duì)《貴妃醉酒》唱腔的各方面分析研究,不僅總結(jié)出該劇在傳統(tǒng)京劇發(fā)展歷史過程中占有重要的地位,同時(shí)也從它隨時(shí)代的變遷而展現(xiàn)的演變形式,看到京劇這種傳統(tǒng)的藝術(shù)品種,要在多元文化中求得適時(shí)的拓展,不僅要繼承傳統(tǒng)的精髓,更應(yīng)該時(shí)刻秉承開放和創(chuàng)新的思維。
[Abstract]:In the course of its long history, Peking Opera has accumulated its own unique vocal features and styles through artistic integration, and it was once the center of the variety of opera in the country. Therefore, Beijing Opera can be said to be a very representative opera (especially in the traditional Chinese opera music). Drunkenness of the imperial concubine occupies a special position in the development of Beijing Opera, especially for the opera of the Mei School. The play not only shows the unique artistic charm of Mei School singing, but also reflects the important influence on the singing art of Peking Opera. This article mainly uses the analysis comparison, the example demonstration and so on method, selects the Peking opera Mei school classical repertoire-"the imperial concubine drunk" to be the research object, takes Mr. Mei Lanfang's singing as the reference, carries on the analysis to its singing music characteristic, And with the same school (Mei school), different schools (Shang, Zhang, etc.) of the representative artists to compare the characteristics of singing. In order to explore the reference value and development prospect of the play in the music culture, the author tries to comb the application and innovation of the singing in the development of the culture of the times. In the first chapter, the author analyzes and analyzes the choir design, structure and music features of Mr. Mei Lanfang's interpretation of "drunken Princess". On the basis of the research in the first chapter, the second chapter firstly records the canto of the representative artists of the Mei School and other schools, and then analyzes the characteristics of the singing songs of the artists. The third chapter, according to the development process of the times, in the new music art form changes, the development, to "the imperial concubine drunk" the concrete application makes the multivariate analysis. Through the analysis and research on various aspects of the singing of "the imperial concubine drunk", it is not only concluded that the opera plays an important role in the development of the traditional Beijing opera, but also the evolution form that it shows with the change of the times. To see this kind of traditional works of art, Beijing Opera should not only inherit the essence of tradition, but also keep the open and innovative thinking.
【學(xué)位授予單位】：南京師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2011
【分類號(hào)】：J821

【參考文獻(xiàn)】

相關(guān)期刊論文 前9條

1 胡芝風(fēng);;尚小云和他的“尚派藝術(shù)”[J];上海戲劇;2005年09期

2 何真;;言慧談珠 記紀(jì)念言慧珠表演藝術(shù)與教育成果研討展演活動(dòng)[J];上海戲劇;2008年01期

3 孫從音;;中國戲曲創(chuàng)腔思維原則(三·中)[J];音樂學(xué)習(xí)與研究;1988年04期

4 徐蘭沅;;略談梅蘭芳的聲腔藝術(shù)[J];戲劇報(bào);1962年08期

5 張正貴;;京劇梅派表演藝術(shù)的美學(xué)內(nèi)涵[J];戲劇文學(xué);2009年01期

6 牛冬陽;;四平調(diào)平板唱腔音樂初探[J];戲劇(中央戲劇學(xué)院學(xué)報(bào));2006年01期

7 胡芝風(fēng);談戲曲劇本創(chuàng)作技巧要素[J];藝術(shù)百家;2004年05期

8 王碩;程(硯秋)派唱腔知識(shí)與學(xué)習(xí)(一)[J];中國京劇;2004年01期

9 張瑞華;;淺談張君秋先生的唱腔藝術(shù)[J];中國京劇;2006年06期

相關(guān)博士學(xué)位論文 前1條

1 仲立斌;京劇梅派唱腔藝術(shù)研究[D];福建師范大學(xué);2009年

，

本文編號(hào)：2198580