本文選題：祁劇 + 彈腔��； 參考：《湖南師范大學(xué)》2011年碩士論文

【摘要】：祁劇是孕育在楚南這塊肥沃土壤中的戲曲奇葩。在歷史長(zhǎng)河中,風(fēng)風(fēng)雨雨走過(guò)了500余年的歷程,祁劇的音樂(lè)文化內(nèi)涵極其深厚,受到廣大群眾的歡迎。本文以祁劇彈腔南路作為研究對(duì)象,以實(shí)地考察為基礎(chǔ),結(jié)合音樂(lè)學(xué)、民俗學(xué)、音樂(lè)美學(xué)、歷史學(xué)等觀點(diǎn),運(yùn)用民族音樂(lè)學(xué)基礎(chǔ)理論,從祁劇彈腔南路的源流、聲腔、器樂(lè)伴奏、審美特征以及傳承這五個(gè)方面進(jìn)行深入,企望填補(bǔ)目前祁劇彈腔南路研究方面的一些缺失,為祁劇的深入研究增添新的參考材料。 文章主要分五大部分： 第一章從祁陽(yáng)的地理位置、人文環(huán)境、社會(huì)習(xí)俗等方面闡述孕育祁劇的獨(dú)特歷史與文化背景,對(duì)彈腔南路的源流進(jìn)行概述,對(duì)南路的幾種來(lái)源提出自己的看法；第二章主要對(duì)南路板式的腔節(jié)落音、句末落音、旋律進(jìn)行、節(jié)奏音程以及音樂(lè)所表達(dá)的情感進(jìn)行詳細(xì)的分析,為研究彈腔南路聲腔的審美特性提供理論基礎(chǔ)；第三章針對(duì)目前祁劇研究在彈腔南路唱腔器樂(lè)伴奏方面涉及較少的現(xiàn)狀,對(duì)南路文武場(chǎng)樂(lè)器進(jìn)行了簡(jiǎn)要介紹,并對(duì)生、旦兩個(gè)角色的弦樂(lè)過(guò)門(mén)伴奏進(jìn)行比較與分析,對(duì)打擊樂(lè)伴奏的作用進(jìn)行舉例分析并進(jìn)行闡述,旨在為彈腔南路唱腔器樂(lè)伴奏方面提供一定的研究參考；第四章通過(guò)將彈腔南路唱腔與北路唱腔、南路的旦行唱腔與生行唱腔進(jìn)行對(duì)比,分析其內(nèi)在組成結(jié)構(gòu),總結(jié)彈腔南路唱腔獨(dú)特的審美特征；第五章通過(guò)田野調(diào)查,對(duì)造成其現(xiàn)狀的原因進(jìn)行較深入的分析并提出一些看法和建議,意在對(duì)祁劇的保護(hù)與發(fā)展提供一些參考。
[Abstract]:Qi Opera is a wonderful opera that was conceived in the fertile soil of Chu Nan. In the long history, through more than 500 years of history, Qi opera music and cultural connotation is extremely profound, welcomed by the masses. Based on the field investigation and the viewpoints of musicology, folklore, music aesthetics and history, this paper applies the basic theory of ethnomusicology, from the origin and flow of Qi Opera Chamber South Road, from the source of Qi Opera Chamber South Road, and from the voice of the South Road of Qi Opera Opera cavity, based on the views of musicology, folklore, music aesthetics, history and so on. Instrumental accompaniment, aesthetic characteristics and inheritance of these five aspects in-depth, hoping to fill in the current Qi-ju Chamber South Road research deficiencies, for the in-depth study of Qi drama to add new reference materials. The article is divided into five parts: The first chapter expounds the unique historical and cultural background of Qi Opera from the geographical position, humanistic environment, social custom and so on, summarizes the origin and stream of Guancao South Road, and puts forward his own views on several sources of South Road. In the second chapter, the author makes a detailed analysis of the South Road floor, sentence, melody, rhythmic interval and the emotion expressed by the music, which provides a theoretical basis for the study of the aesthetic characteristics of the projectile South Road. In the third chapter, in view of the present situation that the research of Qi Opera involves less instrumental accompaniment in the Pian cavity South Road, the paper briefly introduces the Wenwuchang musical instruments of Nanlu, and compares and analyzes the string crossing accompaniment between the two characters. The role of percussion music accompaniment is analyzed with examples and expounded in order to provide a certain reference for the research of instrumental accompaniment in the south of the chamber. In the fifth chapter, through field investigation, the author analyzes the inner structure of the singing and summarizes the unique aesthetic characteristics of the canto. This paper makes a deep analysis of the causes of the present situation and puts forward some opinions and suggestions in order to provide some references for the protection and development of Qi Opera.
【學(xué)位授予單位】：湖南師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2011
【分類(lèi)號(hào)】：J825

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前1條

1 楊顏嘉;澧州荊河戲的唱腔研究[D];湖南師范大學(xué);2012年

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本文編號(hào)：1967000