上党梆子生成发展中几个问题探讨

发布时间：2018-08-26 18:43

【摘要】：戏曲在清中期之前更多以“腔”称,之后才慢慢出现了“剧种”的概念。从《中国戏曲音乐集成》看,大部分剧种皆为昆、弋、梆、黄以及更具区域性的声腔及小调的融合。虽然这些在全国范围内存在的声腔现在更多具有了区域文化性的特征,但从剧目、曲牌等方面仍然保持了极大的一致性。本文认为,“小祀乐用教坊司”、在小祀中需搬演“官戏”,承载官戏者多为高级别官府中乐籍,乐籍制度禁除以及官属乐人谋生方式的改变,既往由官属乐人承载的“官腔”在各地经历了一个向“土腔”转化、交融、沉淀,进而侧重于区域化发展的过程。“乱弹”之称即是各声腔交融、转化的纠结时期所产生的一种称谓。各地戏曲中一致性下的区域丰富性正是因这个过程所致。上党戏曲在明清的不同时段曾经存在过昆、梆、黄、罗、卷五种主要声腔,皆有各自剧目,各以独立姿态出现,但当下仅存梆子腔、皮黄腔。作为上党戏曲中心流传区域的潞、泽两地,自古以来都是王府和高级别官府之所在,有着深厚的音乐文化积淀。明清所生发的上述诸种声腔都在此地培养了固定的观众群,这是与低级别官府所在地有着相当不同者。也正因如此,周围区域戏曲的发展潮流虽然会对此地产生影响,但观众群体审美观念需要一个渐变的过程。这正是在20世纪初上党周边区域戏曲多定于“梆子”之时,上党地区还是五声腔并存且各有独立性剧目的状况,这也就是所谓“上党宫调”的意义。在20世纪下半叶的进一步转化中,随着民众自主选择,承载某些声腔的剧目逐渐淡化,承载某些声腔的剧目得以强化,如是,上党戏曲方呈现“名符其实”上党梆子称谓内涵。本文对上党地区深厚文化积淀以及传统音乐文化遗存做出梳理,并对上党梆子从剧目、曲牌、唱腔等方面进行论述,提出在上党梆子研究过程中存在的一些值得注意的现象；对戏曲声腔在乐籍制度下的生发、发展、传播以及形成条件等方面进行论述；对乐籍制度禁除后由于既往乐籍中人生存方式变换、小祀扩大化等原因导致多种声腔在各区域内由官向土的转化,以及受各地文化及方言影响形成更具区域化特征的过程进行辨析；对上党戏曲从曲牌体和板腔体并存的多声腔向梆子腔系为主导的本体形态演化,由“官腔”向“土腔”过渡,进而形成区域性“剧种”的过程进行把握,意在探究受乐籍制度禁除影响下的中国戏曲发展的规律性意义。
[Abstract]:Before the mid-Qing Dynasty, opera was more known as "opera", and then gradually appeared the concept of "drama". From the "Chinese Opera Music Integration", most of the operas are Kun, Poi, Bang, Huang, and more regional melodies and minor melodies. Although these national vocals now have more regional cultural characteristics, they still maintain great consistency in terms of repertoire, music and so on. In this paper, the author thinks that the "official drama" should be performed in the "Xiao Si Yue Ye Fang", and most of the official operas are carried by the high level government officials, the ban on the music system and the change of the way of making a living for the official family members. The "official cavity", which was carried by the official family members, experienced a process of transformation, blending and precipitation to the "earth cavity" in various places, and then focused on the development of regionalization. "disorderly bomb" is a kind of appellation produced in the tangled period of the blending and transformation of each voice cavity. The regional richness under consistency in local operas is the result of this process. Shangdang opera existed in different periods of Ming and Qing dynasties, including Kun, bang, Huang, Luo, volume, all of which had their own repertoire and appeared independently, but there were only Bangzi tune and yellow opera. Lu and Ze, as the spreading area of Shangdang opera center, have been the place of Wang Fu and high rank government since ancient times, and have deep musical culture accumulation. The above-mentioned vocals of the Ming and Qing dynasties all cultivated a fixed audience here, which is quite different from the location of low-level officialdom. Because of this, the development trend of the regional opera will have an impact on this area, but the audience aesthetic concept needs a gradual process. At the beginning of the 20th century, when the operas in the area around the Shangdang Party were mostly scheduled to be "Bangzi", there were still five vocals and independent plays in Shangdang area, which is the meaning of the so-called "Shangdang Palace tune". In the further transformation of the second half of the 20th century, with the people choosing on their own, the repertoire carrying certain vocals was gradually desalinated, and the repertoire carrying some vocals was strengthened. If so, the Shangdang opera side presented the connotation of the appellation "Shangdang Bangzi". In this paper, the deep cultural accumulation in Shangdang area and the remains of traditional music and culture are combed, and the Shangdang Bangzi is discussed from the aspects of repertoire, music, singing and so on, and some noticeable phenomena in the research process of Shangdang Bangzi are put forward. This paper discusses the birth, development, dissemination and forming conditions of the Chinese opera voice under the music nationality system, and after the ban of the music registration system, because of the change of the way of existence of the people in the past music nationality system, The expansion of the small sacrifice led to the transformation of various vocals from the official to the soil in each region and the process of forming more regional characteristics influenced by local cultures and dialects. The evolution of Shangdang opera from multi-sound cavity to Bangzi opera, which is the coexisting of qu card and board cavity, and the transition from "official cavity" to "earth cavity", and then the process of forming regional "drama" are grasped. The purpose of this paper is to explore the regular significance of the development of Chinese opera under the influence of the system of music and nationality.
【学位授予单位】：中国艺术研究院
【学位级别】：硕士
【学位授予年份】：2011
【分类号】：J825

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