【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,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、結(jié)構(gòu)特點等內(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,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;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 kinds of drama in Anhui Province, Lu Opera has experienced a rough 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. Lu opera singing style simple, easy-to-understand style close to the masses of life, deeply loved by the people. The early development of Luzhu Opera before liberation reached a relatively mature stage, forming a certain scale and influence, influenced by policies after liberation, once entered the golden period of development, and faced a rare opportunity for development. However, after the reform and opening up, it was influenced and restricted by various factors. The development momentum of Lu opera changed from prosperity to decline, and the music of Lu opera also changed actively or passively. There are many factors that cause this kind of change, we should start with comprehensive analysis in many aspects. Based on the music of Lu Opera, this paper analyzes and compares the traditional singing before liberation with the new choir after changes from the angle of morphological characteristics, and finds out their respective melodic characteristics and structural patterns. Explore the two in the development of what changes and their causes, to find out the law. Combined with the new era and new forms of opera aesthetics, to explore the necessary reform of Lu Opera. After a comparative analysis, the author thinks that Lu Opera has begun to show signs of transition after experiencing the bottleneck period of development for half a century, the most important of which is to downplay the concept of "qu", which is supplemented by the traditional style of "qu". Strengthen the characteristic change of plate type change. The author thinks that the reason of the singing itself is the decline of the dominant force of the narrow rhyme, the appearance of more middle rhyme, the melody inside the singing, the richer changes of the board style, and the breaking of the restriction of the traditional dominant tune. This paper is divided into four chapters. The first chapter is on the basis of the author's on-the-spot interviews, the historical evolution of Luzhou Opera is combed, the second chapter introduces the main tune and the main traditional music, including its characteristics of form, structure, and so on. In order to have a more comprehensive grasp of the traditional singing, lay the foundation for comparison; the third chapter uses the same techniques to analyze the representative selection of the new choir, find out its characteristics, and then compare it with the traditional singing. The fourth chapter mainly discusses the internal and external factors of the reform of Lu Opera and the relevant contents of the exploratory reform road of Lu Opera. The author tries to provide theoretical reference and inspiration for the further reform and development of Lu Opera in this way.
【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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