20世纪下半叶新疆地区歌剧创演及其音乐概论

发布时间：2018-03-05 02:37

本文选题：新疆地区　切入点：歌剧　出处：《中央音乐学院》2010年博士论文　论文类型：学位论文

【摘要】： 中国新疆地区是多民族聚居地,有着极其丰富的民族民间音乐,但直至20世纪前始终没有歌剧这种大型综合艺术形式。 20世纪以来,新疆地区经历了由清廷至中华民国和中华人民共和国的不同政权统治的交替。在30年代民国盛世才统治新疆期间,受其一度亲苏亲共的政策影响,新疆地区与邻近的苏联关系密切,并在苏联文化的影响下,新疆地区暂短地掀起过民族歌剧创演的热潮,在艰难的条件下,哈萨克族、维吾尔族、蒙古族等民族,均以本民族的语和传统音乐,创演了若干以本民族历史故事和传说为题材的歌剧。只是不久就受政治局势的演变而趋衰弱。进入20世纪下半叶,随着新疆和平解放和中华人民共和国成立,新疆地区进入到了一个崭新的时代,中央政府大力支持新疆地区的发展建设,在文化艺术事业上尤为重视,调入大型文工团,扶持本地艺术团体发展。50、60年代大量搬演内地优秀的新歌剧,促进了新疆地区歌剧艺术的发展和进步。反映新时代风貌和现实生活,结合新疆地区少数民族音乐风格特点创演的歌剧也逐渐成熟,其中由王洛宾等作曲家创作,以汉语演唱的大型歌剧《两代人》、《无人村》、《战斗的历程》等新歌剧,以及维吾尔歌剧《艾里甫与赛乃姆》有一定的影响力。 “文革”期间,根据周恩来总理的指示,70年代新疆歌舞话剧院将同名京剧“样板戏”移植成维吾尔歌剧《红灯记》。采用维吾尔族民歌和《十二木卡姆》作为移植歌剧《红灯记》的基础音乐素材,框定了以民间音乐为素材进行创作的思路,及用本民族语言演唱的形式。在乐队配置上,采用维吾尔民族乐队与管弦乐队组成混合乐队,并以此歌剧创演剧组为标准成立了新疆第一个歌剧团。受此影响,这一时期,新疆地区各地州文工团,纷纷采用各民族民间音乐素材移植京剧“样板戏”,创演了众多的民族歌剧。在宣传革命思想的同时推动了民族民间音乐再创作与发展。 80年代随着改革开放政策实施,新疆地区的民族歌剧创演进入到一个繁荣期。不仅如维吾尔歌剧《艾里甫与赛乃姆》等深受群众喜爱的歌剧剧目获得重新演出的机会,以新疆歌剧团为创演主体,各种题材的民族歌剧不断涌现,先后产生了《热比娅与赛丁》、《塔什瓦依》、《阿曼尼莎》(后改名为《木卡姆先驱》)等大型民族歌剧。这些采用本民族语言演唱,体现本民族传统和现实生活,并以本民族民间音乐素材进行发展创作的歌剧广获好评,音乐创作也呈现不同风格,技法不断进步,多部歌剧获得国家颁发的大奖。本文纵观20世纪下半叶新疆地区歌剧艺术的发展,根据不同时期歌剧创演的特征,将其发展脉络进行了梳理。证明了在新中国中央政府对于少数民族文化艺术发展所给予的前所未有的扶持政策指导下,随着新疆地区各民族社会文化的变化与发展,新疆地区的少数民族歌剧也取得了巨大的成就,并在歌剧音乐创作上,也取得了众多的成功经验,它以独特的鲜艳色彩,同时展示出不同寻常的发展轨迹。
[Abstract]:The Xinjiang area of China is a multi-ethnic colony with extremely rich folk music, but there was no opera such a large comprehensive art form until twentieth Century.
Since twentieth Century, the Xinjiang area experienced by the alternate regime Qing to the Republic of China and People's Republic of China. In 30s the Sheng Shicai ruled Xinjiang period, affected by the pro Soviet policy was pro Communist, Xinjiang area and adjacent to the Soviet Union closely, and in the influence of Soviet culture, Xinjiang briefly set off national opera boom, in difficult conditions, Kazak, Uygur, Mongolian and other ethnic groups, both in the national language and traditional music, some to the national historical stories and legends as the theme of the opera. But soon evolved by the political situation in the increasingly weak.
In the second half of the twentieth Century, with the peaceful liberation of Xinjiang and People's Republic of China was established, the Xinjiang area has entered a new era, the central government strongly supports the development of the construction of Xinjiang area, especially in the arts and culture, in a large ensemble, support the development of.50,60 in a large number of local art groups the mainland outstanding new opera, promoted Xinjiang area the art of opera's development and progress. The new spirit of the times and reflect the reality, combining with Xinjiang ethnic music style achieves the opera is also gradually mature, which is created by composers such as Wang Luobin, the Chinese singing opera < two generation > >, < < no village, the course of struggle > new opera, and Uyghur opera "Eriv and" sainaimu has certain influence.
During the "Cultural Revolution", according to the instructions of prime minister Zhou Enlai, in 70s the Xinjiang song and dance theatre will Beijing Opera of the same name "model opera" transplanted into opera "red lantern. The Uyghur Uygur folk songs and < twelve > Mukamu opera" the red lantern "as a transplant based music material, framed with folk music as the material for the creation of ideas form and singing in the national language. In the band configuration, the Uyghur national band and orchestra composed of mixed band, and the opera crew as the standard was set up in Xinjiang the first opera. Affected by this, in this period, the Xinjiang area around the state ensemble, have adopted the national folk music material transfer opera model play, create numerous national opera. In the propaganda ideological revolution at the same time promote folk music creation and development.
In 80s, with the implementation of the reform and open policy, the Xinjiang area of ethnic opera into a prosperous period. Not only Uighur opera "Eriv and" sainaimu so loved by the masses of the Opera repertoire to get the chance to perform in the Xinjiang opera troupe to create the main theme, the National Opera emerged, has produced "Rebiya zaidin > >, < < Oman > Tashenwayi, Nisha (later renamed the" pioneer Muqam >) and other large national opera. They use native language singing, embodies the national tradition and the reality of life, and to the national folk music material for the development of opera widely acclaimed, music shows different style technique progress, many opera was awarded the national prize.
The development of the Xinjiang area opera throughout the second half of the twentieth Century, according to the characteristics of different periods of opera, the development venation of the paper. In the new Chinese central government gave for the development of ethnic culture and art of the hitherto unknown support policy guidance, with the change of Xinjiang ethnic culture and social development in Xinjiang area the minority opera also made great achievements, and in opera music creation, has made many successful experience, with bright colors and unique, showing the development path of the unusual.

【学位授予单位】：中央音乐学院
【学位级别】：博士
【学位授予年份】：2010
【分类号】：J822

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