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京剧梅派唱腔艺术研究

发布时间:2018-04-05 02:30

  本文选题:京剧 切入点:梅派 出处:《福建师范大学》2009年博士论文


【摘要】:本文选取京剧梅派唱腔艺术为研究对象,对其历史沿革、唱腔特点、传承方式进行较为系统的研究,并试图以此个案探索中国戏曲艺术流派的兴衰发展规律,从而对如何抢救当今戏曲艺术流派的衰落现状提供理论借鉴。 第一章是对梅兰芳唱腔艺术沿革历程的梳理与分析。在大量分析梅兰芳唱腔的基础上,将梅兰芳唱腔艺术的沿革历程划分为继承期(1914年以前)、新腔初创期(1914年-1924年)、突破期(1925年-1930年)和回归期(1931年-1961年)四个时期。 第二章是对梅派唱腔音乐的分析。本章基于中国传统音乐结构层次理论,对梅派【西皮】、【二黄】、【反二黄】多种板式唱腔的腔音、腔音列、腔韵三个结构层次上的特点进行分析和总结,必要时选取程派唱腔进行分析和比较。 第三章以第二章的研究为基础,对梅派唱腔的艺术特点进行总结。首先,梅派唱腔具有独特的“中和”音乐美学观;其次,梅派唱腔体现出独特的旋律形态特征,其中包含四种特性旋法;再次,梅派唱腔简洁朴实的伴奏特点,与唱腔形成不可分割的整体;最后,梅派唱腔具有优雅、大方、明亮的艺术风格。 第四章是对梅兰芳唱腔艺术传承状况的研究,将梅兰芳唱腔艺术的传承总结为原样传承、变化传承、因素传承三种方式。三种传承方式都是被动的继承,而梅兰芳唱腔艺术本身在传承中并没有得到发展。另外,在原样传承中也只继承下来了数量有限的梅派代表剧目。 由京剧梅派唱腔艺术的兴衰得出启示,中国传统戏曲艺术流派是以演员为中心的综合性—元化戏曲创作机制的产物,而当今导演制下创作主体的多元分化与传统戏曲艺术流派生成机制相违背,这在很大程度上阻碍了当今戏曲艺术流派的发展。为了挽救当今戏曲艺术流派衰落的局面,必须继承以演员或其他艺术家为中心的综合性—元化的戏曲创作运行机制。
[Abstract]:In this paper, the author chooses the opera opera as the research object, studies its historical evolution, the characteristics of singing and the way of inheritance systematically, and attempts to explore the rise and fall of the Chinese opera art schools in this case.Thus how to rescue the current decline of opera art schools to provide theoretical reference.The first chapter is the history and analysis of Mei Lanfang's singing art.On the basis of a great deal of analysis of Mei Lanfang's singing, the evolution of Mei Lanfang's singing art is divided into four periods: inheritance period (before 1914), initial stage of new singing (1914-1924), breakthrough period (1925-1930) and return period (1931-1961).The second chapter is the analysis of the music of the Mei School.Based on the hierarchical theory of Chinese traditional music structure, this chapter analyzes and summarizes the characteristics of the three levels of musical structure of Meimei [Xipi], [Erhuang] and [anti-Erhuang].If necessary, select Cheng Pai singing for analysis and comparison.The third chapter is based on the research of the second chapter, and summarizes the artistic characteristics of Mei School singing.First, it has a unique "neutralization" musical aesthetic view; secondly, it embodies unique melodic characteristics, which includes four characteristics of rotation; thirdly, it is characterized by simple and simple accompaniment.Finally, Meimei singing has elegant, generous, bright artistic style.The fourth chapter is the study of Mei Lanfang's singing art inheritance status, and then summarizes the inheritance of Mei Lanfang singing art into three ways: the original inheritance, the change inheritance, the factor inheritance.The three ways of inheritance are passive inheritance, but Mei Lanfang's singing art itself has not been developed.In addition, in the original inheritance only inherited a limited number of Mei School representative repertoire.From the rise and fall of the opera's opera, the Chinese traditional opera art school is the product of the synthesization-Yuan opera creation mechanism centered on the actors.However, the pluralistic differentiation of the creative subject under the director system is contrary to the formation mechanism of the traditional opera art school, which to a great extent hinders the development of the traditional opera art school.In order to save the present decline of opera art schools, it is necessary to inherit the comprehensive meta-opera creation mechanism centered on actors and other artists.
【学位授予单位】:福建师范大学
【学位级别】:博士
【学位授予年份】:2009
【分类号】:J821;J617.1

【引证文献】

相关期刊论文 前1条

1 郭东旭;;京剧程式化表演对美声演唱舞台表演的指导意义[J];艺术教育;2011年07期

相关硕士学位论文 前1条

1 唐瑭;京剧《贵妃醉酒》唱腔研究[D];南京师范大学;2011年



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