昆曲商調(diào)曲牌曲腔關系研究
發(fā)布時間：2019-06-02 09:02
【摘要】： 昆曲起源于江蘇省昆山地區(qū)，是中國現(xiàn)存最古老的聲腔藝術品種之一。2001年，昆曲被聯(lián)合國教科文組織列入首批“人類口頭和非物質(zhì)文化遺產(chǎn)代表作”保護名錄。本文選取昆曲(南曲)商調(diào)曲牌曲腔關系作為研究對象，借鑒民族音樂學的研究方法，從文化的脈絡中研究音樂，在微觀音樂形態(tài)分析基礎上，探討影響昆曲商調(diào)曲牌曲腔關系的諸多因素，進而闡釋昆曲商調(diào)曲牌曲腔關系的核心本質(zhì)。昆曲商調(diào)曲牌曲腔關系的研究成果對昆曲文化遺產(chǎn)保護有積極促進作用。 本文共三章。第一章從昆曲南曲的商調(diào)入手，對昆曲商調(diào)十九個曲牌中的上百首唱段進行音樂形態(tài)分析，探討了每個具體曲牌曲腔關系的規(guī)律性以及商調(diào)引子曲牌、孤牌自套曲牌、聯(lián)套曲牌三個曲牌類別的各自規(guī)律性特征。第二章在闡釋昆曲商調(diào)引子曲牌、孤牌自套曲牌和聯(lián)套曲牌各自曲牌功能性的基礎上，結合三個曲牌類別各自曲腔關系的特征，闡釋了它們在整個商調(diào)系統(tǒng)內(nèi)的個性因素。通過對三個曲牌類別共性因素的提煉，總結出昆曲商調(diào)系統(tǒng)曲牌曲腔關系的不變因素是“一個旋律骨干音型和兩個特性音型”。這屬于昆曲商調(diào)曲牌系統(tǒng)“框格”的范疇。通過對各個劇目中唱詞與昆曲唱腔音樂內(nèi)在聯(lián)系的研究，，筆者總結出唱詞句群韻腳處的統(tǒng)一押韻與昆曲曲牌各句群句尾韻腳處統(tǒng)一落音具有同一性，提出諸多昆曲唱腔中“文人性”的因素都彰顯出昆曲“音韻聲腔藝術”的命題。 基于前兩章昆曲商調(diào)系統(tǒng)曲牌曲腔關系特征的結論，第三章就影響昆曲曲腔關系的諸多因素進行剖析。首先，筆者對表演創(chuàng)作過程中呈現(xiàn)出的昆曲曲腔關系進行闡釋，通過前兩章的音樂形態(tài)分析及理論提煉，凸現(xiàn)了昆曲商調(diào)曲牌曲腔關系“一與多”的哲學基礎及昆曲商調(diào)曲牌曲腔關系中普適性與特殊性關系的審美內(nèi)涵。認為在昆曲“歷史建構”過程中，“唱詞、唱腔、口法唱法”的三角合力結構對昆曲曲腔關系的保持具有直接影響作用。昆曲在“個人創(chuàng)造與體驗”歷史進程中的兩條傳承脈絡對昆曲曲腔關系的傳承提供重要保障。桌臺清曲對昆曲曲腔關系的嚴格恪守與舞臺劇曲適當迎合觀眾之間矛盾的背后蘊藏著經(jīng)濟行為方式的作用。正是桌臺清曲對舞臺劇曲某種程度上的制約，使得昆曲曲腔關系在上百年的歷史長河中，依舊保持完好，日久彌新。
[Abstract]:Kunqu Opera, which originated in Kunshan area of Jiangsu Province, is one of the oldest existing vocal cavity art varieties in China. In 2001, Kunqu Opera was listed as the first batch of "Human Oral and Intangible Cultural Heritage Representative works" by the United Nations Educational, Scientific and Cultural Organization (UNESCO). This paper selects Kunqu Opera (Nanqu) as the research object, draws lessons from the research method of ethnomusicology, studies music from the context of culture, and on the basis of the analysis of microcosmic music form, This paper probes into many factors that affect the relationship between Shang tune and card cavity in Kunqu Opera, and then explains the core essence of the relationship between Shang tune and card cavity in Kunqu Opera. The research results of the relationship between Kunqu Opera's commercial tunes play a positive role in promoting the protection of Kunqu Opera's cultural heritage. There are three chapters in this paper. The first chapter starts with the commercial tune of Kunqu Opera South Opera, analyzes the music form of hundreds of the 19 songs in Kunqu Opera, and discusses the regularity of the relationship between each specific song and card, as well as the introduction of sub-music card and lone card. The respective regular characteristics of the three types of songs and cards. The second chapter explains the personality factors of Kunqu Opera in the whole commercial tone system on the basis of explaining the function of each piece of Kunqu Opera, the lone card and the linked card, and combining with the characteristics of the relationship between the three types of music and the cavity of the three types of music and music, and explains their personality factors in the whole commercial tone system. Through the extraction of the common factors of the three types of music, it is concluded that the invariant factors of the relationship between the tunes of Kunqu Opera and the commercial tune system of Kunqu Opera are "one melody backbone sound type and two characteristic sound types". This belongs to the category of Kunqu Opera Commercial tune Card system. Through the study of the internal relationship between singing words and Kunqu Opera singing music in each repertoire, the author sums up that the unified rhyme of singing words and sentences has the same identity with the unified rhyme at the end of each sentence of Kunqu Opera. It is pointed out that many factors of "literary human nature" in Kunqu Opera show the proposition of "phonological and vocal cavity art" in Kunqu Opera. Based on the conclusion of the first two chapters, the third chapter analyzes many factors that affect the relationship between Kunqu Opera and Kunqu Opera. First of all, the author explains the relationship between Kunqu Opera and music in the process of performance creation, through the analysis of music form and theoretical extraction in the first two chapters. This paper highlights the philosophical basis of the relationship between "one and more" in Kunqu Opera and the aesthetic connotation of the relationship between universality and particularity in the relationship between Shang tune and cavity in Kunqu Opera. It is considered that in the process of "historical construction" of Kunqu Opera, the triangular joint force structure of "singing ci, singing and oral singing" has a direct influence on the maintenance of the relationship between Kunqu Opera and qu. The two inheritance lines of Kunqu Opera in the historical process of "personal creation and experience" provide an important guarantee for the inheritance of the relationship between Kunqu Opera and Kunqu Opera. There is a function of economic behavior behind the strict adherence to the relationship between Kunqu Opera and the proper catering of stage plays to the audience. It is the restriction of table Qing qu to some extent on stage drama, which makes the relationship between Kunqu Opera and Kunqu Opera in the long history of hundreds of years, still in good condition and renewed for a long time.
【學位授予單位】：中國藝術研究院
【學位級別】：博士
【學位授予年份】：2008
【分類號】：J617.5;J825
本文編號：2490975
[Abstract]:Kunqu Opera, which originated in Kunshan area of Jiangsu Province, is one of the oldest existing vocal cavity art varieties in China. In 2001, Kunqu Opera was listed as the first batch of "Human Oral and Intangible Cultural Heritage Representative works" by the United Nations Educational, Scientific and Cultural Organization (UNESCO). This paper selects Kunqu Opera (Nanqu) as the research object, draws lessons from the research method of ethnomusicology, studies music from the context of culture, and on the basis of the analysis of microcosmic music form, This paper probes into many factors that affect the relationship between Shang tune and card cavity in Kunqu Opera, and then explains the core essence of the relationship between Shang tune and card cavity in Kunqu Opera. The research results of the relationship between Kunqu Opera's commercial tunes play a positive role in promoting the protection of Kunqu Opera's cultural heritage. There are three chapters in this paper. The first chapter starts with the commercial tune of Kunqu Opera South Opera, analyzes the music form of hundreds of the 19 songs in Kunqu Opera, and discusses the regularity of the relationship between each specific song and card, as well as the introduction of sub-music card and lone card. The respective regular characteristics of the three types of songs and cards. The second chapter explains the personality factors of Kunqu Opera in the whole commercial tone system on the basis of explaining the function of each piece of Kunqu Opera, the lone card and the linked card, and combining with the characteristics of the relationship between the three types of music and the cavity of the three types of music and music, and explains their personality factors in the whole commercial tone system. Through the extraction of the common factors of the three types of music, it is concluded that the invariant factors of the relationship between the tunes of Kunqu Opera and the commercial tune system of Kunqu Opera are "one melody backbone sound type and two characteristic sound types". This belongs to the category of Kunqu Opera Commercial tune Card system. Through the study of the internal relationship between singing words and Kunqu Opera singing music in each repertoire, the author sums up that the unified rhyme of singing words and sentences has the same identity with the unified rhyme at the end of each sentence of Kunqu Opera. It is pointed out that many factors of "literary human nature" in Kunqu Opera show the proposition of "phonological and vocal cavity art" in Kunqu Opera. Based on the conclusion of the first two chapters, the third chapter analyzes many factors that affect the relationship between Kunqu Opera and Kunqu Opera. First of all, the author explains the relationship between Kunqu Opera and music in the process of performance creation, through the analysis of music form and theoretical extraction in the first two chapters. This paper highlights the philosophical basis of the relationship between "one and more" in Kunqu Opera and the aesthetic connotation of the relationship between universality and particularity in the relationship between Shang tune and cavity in Kunqu Opera. It is considered that in the process of "historical construction" of Kunqu Opera, the triangular joint force structure of "singing ci, singing and oral singing" has a direct influence on the maintenance of the relationship between Kunqu Opera and qu. The two inheritance lines of Kunqu Opera in the historical process of "personal creation and experience" provide an important guarantee for the inheritance of the relationship between Kunqu Opera and Kunqu Opera. There is a function of economic behavior behind the strict adherence to the relationship between Kunqu Opera and the proper catering of stage plays to the audience. It is the restriction of table Qing qu to some extent on stage drama, which makes the relationship between Kunqu Opera and Kunqu Opera in the long history of hundreds of years, still in good condition and renewed for a long time.
【學位授予單位】：中國藝術研究院
【學位級別】：博士
【學位授予年份】：2008
【分類號】：J617.5;J825
【引證文獻】
相關博士學位論文 前1條
1 陳文革;豫劇唱腔結構動態(tài)研究（1900-1960）[D];福建師范大學;2012年
相關碩士學位論文 前1條
1 羅殷;湘地的昆曲[D];中央音樂學院;2012年
本文編號：2490975
本文鏈接：http://sikaile.net/wenyilunwen/yinyuetheory/2490975.html
