论蒙派京剧音乐的民族性特征

发布时间：2018-03-15 22:24

本文选题：蒙派京剧　切入点：传统京剧　出处：《内蒙古大学》2012年硕士论文　论文类型：学位论文

【摘要】：50年代内蒙古京剧团建立后,艺术家们在不断的实践探索中,创造性的将蒙古族特有的民间音乐糅合到京剧音乐中。他们在传统京剧演唱形式的基础上,加入了蒙古族长调,并将马头琴与京胡这两种音色及表现力完全不同的乐器,大胆的融合在一起,形成了独具蒙古族音乐特色的蒙派京剧。几十年来,蒙派京剧本着“扎根于内蒙古草原、创草原特色的风格和理念”这一宗旨,创作演出了多部反映草原人民生活的优秀剧目,充分的展示了草原人民的物质文化生活和精神面貌。本文首先对蒙派京剧与传统京剧,做出了总体的纵向对比,从对比中阐述了蒙派京剧区别于传统京剧,所显现出的现代性及民族性特征。同时,又将蒙派京剧与内蒙古地区其它“蒙汉交融”的音乐形式(二人台、漫瀚剧)做了横向的音乐风格特征对比,分析它们在吸收蒙古族民族音乐元素中的共同与不同之处。第二部分,从蒙派京剧音乐的民族性特征分析入手,对其旋律、配器、音乐主题、唱腔等方面进行剖析,以多部具体剧目为论据,展开论述。第三部分,从美学角度出发,对蒙派京剧的产生及其价值意义做出分析评价,并对蒙派京剧这一艺术形式的现状及前景做出阐述及展望。
[Abstract]:In 50s, after the establishment of the Beijing Opera Troupe in Inner Mongolia, the artists creatively mixed the Mongolian folk music into the Beijing opera music through continuous practice and exploration. They joined the Mongolian long tune on the basis of the traditional singing form of Beijing Opera. In addition, the Matou piano and the Jinghu musical instrument, two completely different timbre and expressive instruments, were boldly combined to form Mongolian Peking Opera with unique Mongolian musical characteristics. For decades, Mongolian Peking Opera was rooted in the Inner Mongolia grassland. The purpose of creating the style and idea of grassland characteristic "has created and performed many outstanding plays which reflect the life of the people of the grassland, and fully demonstrated the material and cultural life and spiritual outlook of the people of the grassland." This article first makes the overall vertical contrast between the Mongolian school Beijing opera and the traditional Beijing opera, from the contrast elaborated the Mongolian school Beijing opera to distinguish from the traditional Beijing opera, displayed the modernity and the nationality characteristic. At the same time, It also compares the music style characteristics of Mongolian Peking Opera with other musical forms of "blending Mongolian and Han" in Inner Mongolia area, and analyzes their similarities and differences in absorbing Mongolian folk music elements. The second part, starting with the analysis of the national characteristics of Mongolian Peking Opera music, analyzes its melody, orchestration, music theme, singing and so on. The third part, from the point of view of aesthetics, analyzes and evaluates the emergence and value significance of Mongolian Peking Opera, and expounds and prospects the present situation and prospect of the art form of Mongolian Peking Opera.
【学位授予单位】：内蒙古大学
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：J821

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