从拉魂腔到拉魂腔系：地方声腔的谱系化格局研究

发布时间：2018-01-07 18:16

本文关键词：从拉魂腔到拉魂腔系：地方声腔的谱系化格局研究　出处：《福建师范大学》2016年博士论文　论文类型：学位论文

更多相关文章： 拉魂腔 拉魂腔系 地方声腔 谱系化

【摘要】：本文以拉魂腔系各剧种为研究对象,揭示其从“腔”到“腔系”的衍变过程及其产生的原因,试图揭示地方声腔的谱系化格局及其形成机制。第一章主要探讨拉魂腔从“腔”到“腔系”的生态格局,认为拉魂腔从曲艺形态转化为戏曲形态,由单一剧种声腔发展为包含多个支系剧种的声腔系统,其叙事方式发生了蜕变移位；各支系剧种保留有拉魂腔共同的声腔特征,其内在维持力量是“声变情达、情随腔走”的艺术追求,并固化为拉魂腔特有的共性特点。同时,各支系剧种还吸收借鉴本地音乐元素,形成了各自的唱腔特色,促使拉魂腔原有的共性特点发生不同程度的变易,从而形成共性与个性共存的腔系生态。第二章主要研究柳泗腔支系的声腔形态特点,认为它既继承了拉魂腔声腔的核心特点,同时也进行了创新发展,在唱腔音调、声腔结构等方面更多吸收了地方民间音乐,经历了“外在冲击——内在转化——综合创造”的发展过程,从而形成“兼容并蓄、外向重构”的艺术品格,丰富了拉魂腔的声腔体系。第三章主要研究淮海腔支系的声腔形态特点,最突出的艺术风格是主腔历经了“两变一转”,形成曲线性的发展态势。它是在拉魂腔的基础上,吸收了当地的太平歌、猎户腔、俚曲、京剧、徽剧、淮海锣鼓、童子戏等乐种的声腔,并对基本腔进行了板式发展变化,发展成为曲牌体与板式变化体相结合的声腔体制,是对拉魂腔声腔的进一步发展。第四章主要研究肘鼓子腔支系的各剧种,认为各剧种都是以早期肘鼓子戏和拉魂腔为基础,并吸收借鉴了北方音乐的元素。这些声腔既有拉魂腔的核心特征,也吸收了很多戏曲、说唱和民歌小调,受到了齐鲁文化的强烈影响,其音调体系的构成更加丰富,润腔手法更加多样,唱腔结构也呈现多元化的态势。第五章重点探寻拉魂腔系谱系化格局的形成机制,认为生活方式、方言语调和地方民间音乐对拉魂腔系的各支系声腔产生了重要影响。同时,辟邪文化对拉魂腔的起源与成长起到了助推作用,宗教信仰对戏曲声腔的价值取向产生了直接作用,拉魂腔系的声腔衍变及其谱系化分布,也与艺人的演艺方式有着直接的关联。
[Abstract]:In this paper, we take every kind of drama of the soul system as the research object, and reveal the evolution process from "cavity" to "cavity system" and the reasons for its emergence. The first chapter mainly discusses the ecological pattern from "cavity" to "cavity system", and thinks that the soul cavity is transformed from quyi form to opera form. From a single type of vocal cavity to a vocal system containing multiple branches of drama, its narrative mode has changed and shifted. Each branch of drama retains the common sound characteristics of the soul cavity, and its internal maintenance force is the artistic pursuit of "the sound changes the emotion, the emotion goes with the cavity", and solidifies as the common characteristic of the pull soul cavity. At the same time. Each branch also absorbs the local music elements to form their own singing characteristics and promote the original common characteristics of the soul to change in varying degrees. In order to form the common and individual coexistence of cavity ecology. The second chapter mainly studies the characteristics of the Liusi cavity branch cavity shape, it not only inherits the core characteristics of the soul cavity, but also carries on the innovation and development. In the aspects of singing tone, vocal structure and so on, more local folk music has been absorbed, which has experienced the development process of "external shock-internal transformation-comprehensive creation", thus forming "all-inclusive". The extroverted reconstruction of works of art enriches the vocal cavity system of the soul. The third chapter mainly studies the characteristics of the Huai Hai cavity branch, the most outstanding art style is that the main cavity has gone through "two changes and one turn". It is based on pulling the soul, absorbing local Taiping song, Orion, slang, Beijing opera, Hui opera, Huaihai gongs and drums, children's play and other kinds of music. And has carried on the plate type development change to the basic cavity, has developed the sound cavity system which the qu card body and the board type change body unifies, is to pull the soul cavity the sound cavity further development. 4th chapter mainly studies the elbow drum sub-cavity branch each kind of drama. It is believed that all kinds of plays are based on the early elbows and drum dramas and draw on the elements of northern music. These vocals have not only the core characteristics of the soul, but also many operas, rap and folk song minor. Under the strong influence of Qilu culture, the composition of the tone system is more abundant, and the tonality is more diverse. Singing structure also presents a diversified situation. Chapter 5th focuses on exploring the formation mechanism of the pedigree pattern of the soul pedigree, and believes that the way of life. Dialect intonation and local folk music have an important influence on the vocal cavity of every branch of the soul system. At the same time, the culture of dispelling evil spirits plays a positive role in the origin and growth of the soul. Religious belief has a direct effect on the value orientation of the opera. The evolution of the soul family and its genealogical distribution are also directly related to the entertainer's performing style.
【学位授予单位】：福建师范大学
【学位级别】：博士
【学位授予年份】：2016
【分类号】：J617.5

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