蒲剧音乐研究

发布时间：2018-04-23 07:19

本文选题：蒲剧音乐 + 声腔与方音　；参考：《山西师范大学》2010年硕士论文

【摘要】：蒲剧是我国较为古老的地方剧种,是山西四大梆子之一,既和秦腔有姊妹关系,也和山西其他三大梆子有衍生关系,其音乐形式属于板腔体。在长期的发展演变过程中,蒲剧音乐一直被当地及周边的群众所喜爱,传承至今。自上世纪五六十年代以来,已有不少书作对蒲剧的唱腔音乐,名家名段,以及曲牌音乐进行了搜集整理,弥补了音乐记录上的很大空白,但在音乐理论分析上尚显不足,一些称谓由于版本或者其他一些原因有不同之处,有些概念不够清晰。因此,对已有的蒲剧音乐所涉及的理论方面进行分析研究非常有意义。本文拟从音乐本体的角度,运用相关的音乐理论知识,从全新的视角对蒲剧音乐进行分析。在前人研究成果的基础上,一方面从与蒲剧音乐密切关联的地方方言的语音语调入手,阐释其唱腔音乐和语音之间的关系,讨论了蒲白与唱腔之间如何转换;另一方面从分析唱腔旋律的骨干音和音程组成入手,揭示其“慷慨激昂,低回婉转”的缘由。从声部的表现形式上把蒲剧音乐分成主要的两个外部结构,区别于以往唱腔和伴奏形式有文场、武场的划分。这两个部分表现为:一是以梆子为主要伴奏乐器,这是其特色所在。梆子的敲击形成速度变化,既起到统领唱腔的作用,也是各种板式进行变化的依据。二是其唱腔旋律,具有浓厚的地方韵味,业界通常称唱腔旋律特点是“慷慨激昂,低回婉转”。而另一个主要伴奏乐器板胡,因其具有较强的人声模仿能力,并且能够起到扩大音域的作用,因此文中一并归入到唱腔部分。这两个主要的组成部分,在蒲剧音乐的进行中呈现出横线旋律线条下的多律动的结合。从唱腔旋律以及曲牌音乐旋律的内在构成上,明确其律制以及中立音的使用。运用分析音程组成的方法,对具有代表性的唱段以及曲牌音乐进行具体的分析和比较研究,归纳唱腔旋律以及曲牌音乐的骨干音和调式调性,总结出目前蒲剧音乐当中运用的三种主要的调式调性,即以三个骨干音为支柱的两种五声调式和七声徵调式。区别于以往较为含混的“4不4,7不7”“3.6调”等概念。最后,尝试性的对蒲剧音乐的传承与创新进行分析与探索,在其音乐表现形式以及特色处理上进行对比,讨论了表现形式上的简与繁,内在特色的可变与不可变的因素。用发展的眼光看待蒲剧音乐的改革与创新。
[Abstract]:Puju is an ancient local opera in our country. It is one of the four big Bangzi in Shanxi. It has sister relationship with Qin cavity and derivative relationship with other three big Bangzi in Shanxi. In the long-term development and evolution process, Puju music has been loved by the local and surrounding people, passed on to this day. Since the fifties and sixties of the last century, many books have collected and sorted out the singing music, the famous famous paragraphs, and the qu music of the Po Opera, which have made up for a large gap in the music records, but there are still some deficiencies in the analysis of the music theory. Some titles differ from version or for some other reason, and some concepts are not clear enough. Therefore, it is of great significance to analyze and study the theoretical aspects involved in the music of Puju Opera. From the perspective of music Noumenon, using the relevant music theory knowledge, this paper analyzes Puju music from a new perspective. On the basis of the previous research results, on the one hand, it explains the relationship between the singing music and the pronunciation of the local dialects, which are closely related to the music of Puju, and discusses how to convert between the pubai and the singing; On the other hand, from the analysis of the composition of the backbone and interval of the melody, it reveals the reason of its "impassioned, low-back euphemism". This paper divides the music of Puju into two main external structures in terms of the expression form of the vocal part, which is different from the division of the literary field and the martial field in the forms of singing and accompaniment in the past. These two parts are: first, Bangzi as the main accompaniment instrument, which is its characteristics. Bangzi beat formation speed change, not only play a leading role in singing, but also a variety of board changes. Second, its singing melody, with a strong local flavor, the industry generally known as singing melody characteristics is "impassioned, low back to the euphemism." Another main accompaniment, Banhu, because of its strong human voice imitation ability, and can play a role in expanding the range, so the text is included in the singing part. These two main components in the music of Puju show the combination of multiple rhythms under the lines of horizontal melodies. From the singing melody and the music melody of the internal composition, clear its law and the use of neutral sound. By using the method of analyzing the composition of interval, this paper makes a concrete analysis and comparative study on the representative choir and the music of qu, sums up the melody of the singing and the backbone sound and the tone of the music. This paper summarizes the three main modes of tone used in the music of Puju, that is, the two pentatonic styles and the seven-tone tone styles, which are supported by three backbone tones. Different from the previous more ambiguous concepts such as "4, 4, 7, 7, 7," "3.6," and so on. Finally, the paper tries to analyze and explore the inheritance and innovation of Pu Opera music, compares its music expression form and characteristic treatment, and discusses the simple and complex expression form, the variable and immutable factors of internal characteristics. To look at the reform and innovation of Pu opera music from the perspective of development.
【学位授予单位】：山西师范大学
【学位级别】：硕士
【学位授予年份】：2010
【分类号】：J825

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