本文選題：京劇　切入點(diǎn)：梅派　出處：《福建師范大學(xué)》2009年博士論文

【摘要】：本文選取京劇梅派唱腔藝術(shù)為研究對象,對其歷史沿革、唱腔特點(diǎn)、傳承方式進(jìn)行較為系統(tǒng)的研究,并試圖以此個案探索中國戲曲藝術(shù)流派的興衰發(fā)展規(guī)律,從而對如何搶救當(dāng)今戲曲藝術(shù)流派的衰落現(xiàn)狀提供理論借鑒。 第一章是對梅蘭芳唱腔藝術(shù)沿革歷程的梳理與分析。在大量分析梅蘭芳唱腔的基礎(chǔ)上,將梅蘭芳唱腔藝術(shù)的沿革歷程劃分為繼承期(1914年以前)、新腔初創(chuàng)期(1914年-1924年)、突破期(1925年-1930年)和回歸期(1931年-1961年)四個時期。 第二章是對梅派唱腔音樂的分析。本章基于中國傳統(tǒng)音樂結(jié)構(gòu)層次理論,對梅派【西皮】、【二黃】、【反二黃】多種板式唱腔的腔音、腔音列、腔韻三個結(jié)構(gòu)層次上的特點(diǎn)進(jìn)行分析和總結(jié),必要時選取程派唱腔進(jìn)行分析和比較。 第三章以第二章的研究為基礎(chǔ),對梅派唱腔的藝術(shù)特點(diǎn)進(jìn)行總結(jié)。首先,梅派唱腔具有獨(dú)特的“中和”音樂美學(xué)觀;其次,梅派唱腔體現(xiàn)出獨(dú)特的旋律形態(tài)特征,其中包含四種特性旋法;再次,梅派唱腔簡潔樸實的伴奏特點(diǎn),與唱腔形成不可分割的整體;最后,梅派唱腔具有優(yōu)雅、大方、明亮的藝術(shù)風(fēng)格。 第四章是對梅蘭芳唱腔藝術(shù)傳承狀況的研究,將梅蘭芳唱腔藝術(shù)的傳承總結(jié)為原樣傳承、變化傳承、因素傳承三種方式。三種傳承方式都是被動的繼承,而梅蘭芳唱腔藝術(shù)本身在傳承中并沒有得到發(fā)展。另外,在原樣傳承中也只繼承下來了數(shù)量有限的梅派代表劇目。 由京劇梅派唱腔藝術(shù)的興衰得出啟示,中國傳統(tǒng)戲曲藝術(shù)流派是以演員為中心的綜合性—元化戲曲創(chuàng)作機(jī)制的產(chǎn)物,而當(dāng)今導(dǎo)演制下創(chuàng)作主體的多元分化與傳統(tǒng)戲曲藝術(shù)流派生成機(jī)制相違背,這在很大程度上阻礙了當(dāng)今戲曲藝術(shù)流派的發(fā)展。為了挽救當(dāng)今戲曲藝術(shù)流派衰落的局面,必須繼承以演員或其他藝術(shù)家為中心的綜合性—元化的戲曲創(chuàng)作運(yùn)行機(jī)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.
【學(xué)位授予單位】：福建師范大學(xué)
【學(xué)位級別】：博士
【學(xué)位授予年份】：2009
【分類號】：J821;J617.1

【引證文獻(xiàn)】

相關(guān)期刊論文 前1條

1 郭東旭;;京劇程式化表演對美聲演唱舞臺表演的指導(dǎo)意義[J];藝術(shù)教育;2011年07期

相關(guān)碩士學(xué)位論文 前1條

1 唐瑭;京劇《貴妃醉酒》唱腔研究[D];南京師范大學(xué);2011年

，

本文編號：1712813