中国现代室内歌剧《命若琴弦》、《夜宴》音乐特色研究

发布时间：2018-03-20 02:20

本文选题：中国现代室内歌剧　切入点：《命若琴弦》　出处：《中央音乐学院》2006年博士论文　论文类型：学位论文

【摘要】： 本文以瞿小松作曲的《命若琴弦》和郭文景作曲的《夜宴》这两部中国现代室内歌剧为研究对象,从结构特征、音响技术、人物塑造等几个方面,探讨其音乐部分的技术特点和艺术特色,期望对中国现代实验性歌剧的创作实践产生积极的现实意义。全文分为上、下两编,共六章,每编各三章: 上编主要讨论《命若琴弦》的音乐特色。第一章从戏剧和音乐两个方面探讨了该剧整体结构形态及主要结构力。指出“戏中戏”的结构特点和三次“断弦”的戏剧结构力作用,此后,在分析了各场次及整体音乐结构的基础上指出,几个贯穿全剧的主题、动机、音型,整体速度布局,以及作为特性乐器的三弦音色等都形成了音乐结构力;第二章“音响技术和戏剧表现手段”,分析了节奏、节拍、多声技法等技术性问题和器乐音乐在歌剧中的戏剧表现手段,如器乐的戏剧表现功能、音色的表现价值、音响结构手段等。第三章“塑造人物形象的手法”,揭示了该剧塑造人物形象的整体思路,以及人声在塑造人物过程中的作用。下编主要讨论《夜宴》的音乐特色。第四章“整体结构形态及主要结构力”,认为该剧是一种“在两种时态陈述系统中同构比照”的戏剧结构,此结构方式是戏剧内容对戏剧结构直接映射的结果。而《汉宫秋月》等几个主题、动机是全剧音乐结构的核心结构力。最后,由《夜宴》创作过程中的两个文学脚本引发了关于戏剧与音乐关系问题的一些思考;第五章第一节指出,该剧的织体形态、节奏节拍、多声技法、调式调性等技术手段,都体现出中国单声音乐思维的特点,并认为这一音响结构逻辑正是形成《夜宴》中国文人音乐特色的技术核心。第二节从歌剧器乐音乐特殊功能入手,分别分析了琵琶、打击乐器和管弦乐器的戏剧表现手段及价值;第六章集中讨论关于塑造人物形象的问题,认为“在合理定位基础上做动态处理”是其总体特征,而多元统一的唱腔风格、自如变化的表现形式,以及帮腔、重唱等多声手段的应用大大丰富了人声的戏剧表现力。结论总结了两剧的艺术特色,并就它们对中国现代歌剧创作的积极意义提出了自己的见解。
[Abstract]:In this paper, two modern Chinese indoor operas, such as qu Xiaosong's "Liingruo string" and Guo Wenjing's "Night Banquet", are taken as the research objects, from the aspects of structural characteristics, sound technology, character shaping, and so on. This paper probes into the technical and artistic characteristics of the musical part and expects to have positive practical significance for the creative practice of modern experimental opera in China. The full text is divided into the following two parts, six chapters in total, three chapters for each part:. The first chapter discusses the whole structure form and the main structural force of the play from two aspects of drama and music, and points out the structural characteristics of "drama in drama" and the "broken string" of three times. Dramatic structural force, Then, on the basis of the analysis of each stage and the whole music structure, it is pointed out that several themes, motivation, sound type, overall speed layout, as well as the three string timbre, which are characteristic musical instruments, have formed the musical structure force. The second chapter, "Audio Technology and means of dramatic expression", analyzes the technical problems such as rhythm, rhythm, multi-tone techniques and the means of dramatic expression of instrumental music in opera, such as the dramatic performance function of instrumental music, the performance value of timbre, etc. The third chapter, "methods of portraying characters", reveals the whole idea of creating characters in the play and the role of voice in the process of portraying characters. The following part mainly discusses the musical features of the Night Banquet. Chapter 4th, "the whole structure and the main structural Force," holds that the play is a kind of drama structure which is "isomorphic and contrasted in the system of two tenses of statement". This structure is the result of the direct mapping of the drama content to the drama structure. And several themes, such as Han Palace and Autumn Moon, are the core structural force of the musical structure of the play. Finally, From the two literary scripts in the course of the creation of "Night Banquet", some reflections on the relationship between drama and music have been initiated. Section 1 of Chapter 5th points out that the play's texture form, rhythm and rhythm, polyphonic techniques, modulation and other technical means, etc. Both reflect the characteristics of Chinese monophonic music thinking, and think that this sound structure logic is the technical core of forming the characteristics of Chinese literati music. The second section starts with the special functions of opera instrumental music and analyzes the pipa, respectively. Chapter 6th focuses on the problem of portraying characters, and holds that "doing dynamic processing on the basis of reasonable orientation" is its general characteristic, and the multi-dimensional and unified singing style. The freely changing forms of expression, and the application of multi-sound means, such as help cavity and duet, greatly enriched the expressive power of human voice drama. The conclusion summarizes the artistic characteristics of the two plays and puts forward their own views on the positive significance of the two plays to the creation of modern Chinese opera.
【学位授予单位】：中央音乐学院
【学位级别】：博士
【学位授予年份】：2006
【分类号】：J617.2

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