本文關(guān)鍵詞： 線偶戲音樂 曲式 和聲 復(fù)調(diào)　出處：《陜西師范大學(xué)》2008年碩士論文　論文類型：學(xué)位論文

【摘要】： 合陽線偶戲,是發(fā)源于陜西合陽一帶的獨特劇種。因其演出風(fēng)格別具一格、戲曲音樂獨具特色,它一直深受全國各地的戲曲愛好者的喜愛和贊譽。作為國家第一批非物質(zhì)文化遺產(chǎn)之一,它經(jīng)歷了兩千多年的時光流轉(zhuǎn),而成為我國乃至世界藝術(shù)史上起源最早、發(fā)展最早的線偶戲劇種,也是迄今為止,保留古老線偶藝術(shù)最多的劇種之一。 線偶戲成為一種獨立的劇種,它的發(fā)源朝代大約是在漢代,到了唐朝時興盛一時,明清兩朝在全國上下比較活躍。它以其獨特的藝術(shù)魅力和獨特風(fēng)格而成為中華一絕。除了它的表演外,它的音樂更是值得玩味品嘗。其唱腔自成一系,韻味十足,故有“到了合陽,必聽線腔”之說。它那委婉細膩的音韻,體現(xiàn)了合陽人民的質(zhì)樸無華,透過線偶戲音樂,人們可以一窺合陽一帶深厚的文化底蘊。 本文主要從合陽線偶戲的起源發(fā)展的角度,深入分析其產(chǎn)生的脈絡(luò)走向,研究其獨特的藝術(shù)特征,進一步論證線偶戲音樂的主要技術(shù)現(xiàn)象。 第一部分中,筆者從三個方面對線偶戲及線偶戲音樂的起源進行闡述。早在帝嚳時代,線偶戲的戲具木偶已經(jīng)產(chǎn)生,到了夏商時,木偶歌舞的不斷發(fā)展,以及“優(yōu)伶”的出現(xiàn)促進了木偶與戲的結(jié)合,經(jīng)歷了秦漢歌舞與散樂百戲的融合階段后,線偶戲逐步萌生。在其發(fā)展過程中,線偶戲音樂受“勸善調(diào)”的影響巨大,同時,在合陽一帶的農(nóng)業(yè)神歌也成為線偶戲音樂衍變過程中的一個重要推動因素,最終為向具有獨立聲腔特色的線偶調(diào)的形成奠定了基礎(chǔ)。 第二部分著重論述了線偶戲音樂的三大組成部分—唱腔音樂、絲竹音樂、鑼鼓音樂。筆者結(jié)合實例重點分析了唱腔音樂中的板式流程、線偶調(diào)和亂彈調(diào)的各元素構(gòu)成,歸納出線偶戲絲竹音樂的運用規(guī)律;在鑼鼓音樂部分,分析了鑼鼓音樂的功能和線偶戲音樂中的樂隊構(gòu)成以及分類,最后結(jié)合大量譜例對線偶戲音樂的基本結(jié)構(gòu)層次進行了闡明。 第三部分線偶戲音樂特征。筆者從線偶戲音樂的普遍性特征開始著手,結(jié)合對其的準(zhǔn)確定位,進一步分析出它在藝術(shù)個性。從社會的、歷史的角度闡明線偶戲音樂的地方化及線偶戲音樂的程式性特征。線偶戲音樂是帶有明顯北方屬區(qū)性的劇種音樂之一,它受合陽地方語音的影響,在調(diào)式音階、主奏樂器的定調(diào)、特有過門以及鑼鼓和板頭銅器等方面表現(xiàn)有明顯的個性。 第四部分線偶戲音樂技法。筆者結(jié)合實例考查,分析了線偶戲音樂的常用技法。主要包括句式變化、板式組合、旋律發(fā)展、曲式架構(gòu)四個內(nèi)容。線偶戲音樂因唱腔的變化需要需對基本句式進行必要的擴充或緊縮,以此改變基本腔型句式的內(nèi)部結(jié)構(gòu),形成能夠表現(xiàn)不同感情色彩的各種式樣的變化句式。同時,在板式變化上,線偶戲音樂依其各種板式的獨特之處和表現(xiàn)作用,隨著劇情的發(fā)展和人物感情的起伏,基本板式必須進行靈活的組合運用。另外,在旋律發(fā)展上,引伸、對比等一些技法也在線偶戲音樂中有所體現(xiàn),基本實現(xiàn)了自身旋律發(fā)展的不斷完善。在曲式發(fā)展方面,對置、再現(xiàn)、變奏和回旋等手法也運用得較為普遍。 第五部分,筆者對線偶戲音樂的和聲和復(fù)調(diào)現(xiàn)象進行了闡述。線偶戲音樂雖年代久遠,但今天看來,它已經(jīng)具備了相當(dāng)程度的和聲形態(tài)表現(xiàn)。如線偶戲音樂在各個樂句結(jié)束處,不同的停頓音上構(gòu)成了Ⅴ-Ⅰ,Ⅰ-Ⅴ的進行,這與西方的奧爾加農(nóng)時期的和聲特征較為接近。同時,線偶戲音樂和聲形態(tài)的類似表現(xiàn),主要基于其完整的板式體系已經(jīng)形成、伴奏的形式和樂隊的配置也相對成熟等一系列客觀事實。一些技術(shù)現(xiàn)象如演唱中男女二聲部中有三度、四度音程疊置,在純器樂的伴奏中出現(xiàn)了五度、六度的音程疊置等。筆者還對和聲(Ⅰ)的表現(xiàn)形態(tài),即唱詞襯詞中由他人應(yīng)和在幫腔的部分進行了論述。在復(fù)調(diào)方面,線偶戲音樂的“復(fù)調(diào)循環(huán)套曲”形式主要體現(xiàn)在各種板式的板頭銅器音樂中。其打擊樂又為表現(xiàn)線偶戲音樂特點的和聲音型節(jié)奏與織體提供了條件。另外,線偶戲音樂還運用對比復(fù)調(diào)、支聲復(fù)調(diào)等手法,使線偶戲音樂顯得淳樸、自然,富有生活氣息。
[Abstract]:Heyang is a unique line of puppet opera, originated in the Shaanxi area of Heyang. Because of its performance style have a unique style, unique opera music, it has been well received by the country opera lovers of love and praise. As one of the first batch of national intangible cultural heritage, it has experienced two thousand years of time, become our country and even the world of art the history of the earliest origin, the earliest line puppet drama, so far, even the most reserved old line art drama.
Line art has become an independent drama, it is about the origin of the dynasties in the Han Dynasty to the Tang Dynasty flourished during the two dynasties are active in the country. With its unique artistic charm and unique style and become China a must. In addition to its performance, it is worth pondering the taste of music the singing into a class of its own, full of flavor, it is "to Heyang, will listen to the line cavity". Its delicate euphemism phonology, the embodiment of Heyang's starkness, through the line play music, people can see the Heyang area rich cultural heritage.
This article mainly from the Heyang line play origin development perspective, in-depth analysis of the development trend, study its unique artistic features, further demonstrates the main technical line of music. The phenomenon of puppet
In the first part, the origin of the author from the three aspects of line and line puppet puppet music described. Early in the Ku era, puppet show puppet line has been produced to the Xia and Shang, the continuous development of the puppet dance "actor", and promote the emergence of puppet and drama combined experience the fusion stage dance and music drama of the Qin and Han Dynasties, line puppet gradually initiation. In the process of its development, influenced by the "good music line puppet tune", at the same time, in the vicinity of Heyang agricultural song of God has also become an important factor to promote the development of the music puppet line, finally laid the foundation for to the line formed with independent tune features even tone.
The second part focuses on the line puppet music three parts - Aria music, Sizhu music, percussion music. The author introduced the process of vocal music in the plate, line even harmonic elements Luantan adjustable structure, summarized outlet Sizhu music use puppet rule; in percussion music part, analyzes the function and the line of music in the music play percussion band composition and classification, finally combined with the basic structure of a large number of music music puppet expounded on the line.
The third part line puppet feature of music. Beginning with the general characteristics of the combination of music and art, its accurate positioning, further analysis of its artistic personality. From the social and historical perspective to clarify program localization and line line music music puppet puppet features. The line is one of the opera music puppet music with a clear district of northern Heyang, which was influenced by the local voice, in the mode, the main instrument of the door and set the tone, unique drums and other aspects of the bronze plate head has a distinct personality.
The fourth part line puppet music techniques. Combined with the examples of test, analysis of the commonly used techniques of music. Including the puppet line patterns change, plate combination, theme development, architecture form four aspects. The line puppet music because of singing changes need to carry out the necessary expansion or contraction of the basic sentence patterns, in order to change the internal structure of the basic cavity sentence, sentence pattern can change the formation of different emotions. At the same time, the plate changes on line according to the various type of music puppet is unique and the role of performance, with the development of the plot and characters of ups and downs, the basic plate must be carried out using the flexible combination. In addition, drawing in the melody development. Comparison, reflected some techniques of online music puppet, the basic realization of the theme of the development of continuous improvement. In the form of development, facing, reproduction, variations and Rondo Such techniques are also widely used.
The fifth part, on the line of puppet harmony and polyphony music phenomenon. The author describes line puppet music although old, but today it seems, it already has a considerable degree of harmony form. Such as the line at the end of each music puppet in different phrases, pause sound form V - I, for I - V the characteristics of harmony with the western agricultural Olga period is close. At the same time, a similar performance line puppet music sound form, mainly based on the complete system of plate has been formed, and the band accompaniment form configuration is relatively mature and a series of objective facts. Some phenomena such as men and women have two voices singing three degrees, four degrees interval overlapping, in the pure instrumental accompaniment in five degrees, six degrees interval overlapping. The author also of harmony (I) forms, namely the libretto by others and the word chimed in on the part of the Discussion. In the polyphony, line puppet music "polyphonic cycle Taoqu" is mainly reflected in the form of various plate plate head bronze music. The percussion and provides the conditions for the line puppet music characteristics and sound rhythm and texture. In addition, the line also contrast with the polyphonic music puppet, polyphony technique the line is simple, play music, natural, rich flavor of life.

【學(xué)位授予單位】：陜西師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2008
【分類號】：J617.8

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