【摘要】：廬劇作為安徽省四大劇種之一,雖經(jīng)歷了坎坷發(fā)展過程,但在安徽省內(nèi)仍有著較大影響力,目前受眾依然廣大,有著非常好的群眾基礎(chǔ)。廬劇演唱風(fēng)格樸實(shí)無華、唱詞通俗易懂的風(fēng)格貼近群眾生活,深受百姓喜愛。廬劇唱腔在解放前的早期發(fā)展已經(jīng)到了較為成熟的階段,形成一定的規(guī)模和影響力,解放后受政策影響,一度進(jìn)入發(fā)展黃金期,面臨難得的發(fā)展機(jī)遇,但在改革開放后又受到各方面因素的影響和制約,廬劇的發(fā)展勢頭由盛轉(zhuǎn)衰,廬劇音樂也主動或被動地發(fā)生了一定的轉(zhuǎn)變。造成這種變化的因素有很多,要從多方面綜合分析入手。而本文以廬劇音樂為切入點(diǎn),將解放前的傳統(tǒng)唱腔與經(jīng)歷變遷后的新編唱腔從形態(tài)特征角度加以分析對比,找到其各自的旋律特點(diǎn)和結(jié)構(gòu)模式,探索二者在發(fā)展中出現(xiàn)了哪些變化及其原因,找到其中的規(guī)律。再結(jié)合新時期新形式的戲曲審美,探索廬劇要做的必要的改革。在對比分析之后,筆者認(rèn)為廬劇在經(jīng)歷半個世紀(jì)的發(fā)展瓶頸期之后已經(jīng)開始出現(xiàn)了轉(zhuǎn)型的跡象,其中最重要的就是由傳統(tǒng)曲牌體為主板式變化為輔的性質(zhì),向曲牌概念淡化、加強(qiáng)板式變化的特性轉(zhuǎn)變。筆者認(rèn)為其唱腔自身原因是窄聲韻主導(dǎo)力的下降,出現(xiàn)了更多的中聲韻,唱腔內(nèi)部的旋律、板式變化更豐富,打破了傳統(tǒng)唱腔主調(diào)曲牌的制約力。本文分為四章。第一章是在筆者實(shí)地采訪內(nèi)容基礎(chǔ)上,對廬劇歷史沿革所做的梳理;第二章介紹了廬劇主調(diào)與花腔的主要傳統(tǒng)曲牌,包括其形態(tài)特點(diǎn)、結(jié)構(gòu)特點(diǎn)等內(nèi)容,以對傳統(tǒng)唱腔有較全面的把握,為比較打下基礎(chǔ);第三章以同樣的手法對新編唱腔的代表性選段進(jìn)行分析,找出其特點(diǎn),并隨之將其與傳統(tǒng)唱腔進(jìn)行對比,找出其繼承演變的因素和特點(diǎn);第四章主要談到廬劇改革的內(nèi)外部因素,以及廬劇探索性的改革之路的相關(guān)內(nèi)容。筆者試圖通過這樣的方式為廬劇今后的深化改革發(fā)展提供理論上的參照和啟示。
[Abstract]:As one of the four major operas in Anhui Province, Lu opera has experienced a bumpy development process, but it still has a great influence in Anhui Province. At present, the audience is still vast and has a very good mass base. The singing style of Lu opera is simple and luxurious, and the style of easy-to-understand lyrics is close to the people's life, and is deeply loved by the people. Development has reached a relatively mature stage, forming a certain scale and influence. Affected by policies after liberation, it once entered a golden period of development and faced rare opportunities for development. However, after the reform and opening up, it was influenced and restricted by various factors. The development momentum of Luju opera changed from prosperity to decline, and Luju music also took place actively or passively. There are many factors that cause this change, and we should start with a comprehensive analysis from many aspects. This paper takes Luju music as a breakthrough point, compares the traditional aria before liberation with the new aria after undergoing changes from the perspective of morphological characteristics, finds their melodic characteristics and structural patterns, and explores the emergence of the two in development. After a comparative analysis, the author believes that after half a century of bottleneck period of development, Luju opera has begun to show signs of transformation, the most important of which is the traditional form of opera. The author thinks that the reason of its singing is the decrease of the dominant force of narrow vowel, the emergence of more medium vowel, the melody inside the aria, and the richer change of the board style, which breaks the restriction of the traditional main tune of the aria. The first chapter is divided into four chapters. On the basis of the author's on-the-spot interviews, the author sorts out the historical evolution of Luju opera; the second chapter introduces the main tunes and the main traditional tunes of Luju opera, including its morphological characteristics, structural characteristics and other content, in order to have a more comprehensive grasp of the traditional aria, to lay the foundation for comparison; the third chapter with the same approach to the representativeness of the new aria. The fourth chapter mainly talks about the internal and external factors of the Luju opera reform and the related contents of the exploratory reform road. The author tries to provide the further reform and development of Luju opera in this way. Theoretical reference and inspiration.
【學(xué)位授予單位】：西南大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2016
【分類號】：J825

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