汝南罗卷戏研究

发布时间：2018-03-17 06:35

本文选题：罗卷戏　切入点：音乐　出处：《河南大学》2009年硕士论文　论文类型：学位论文

【摘要】： 本文所研究的对象罗卷戏是明代末期发源于驻马店汝南的卷戏和清代初期流入汝南的罗戏。因卷戏的主奏乐器是小唢呐(俗称小笛子),所以民间也叫小笛子戏。因罗戏的主奏乐器是大唢呐,民间也称其为大笛子戏、大笛子罗罗。后来因卷戏善演文场戏,罗戏善演武场戏,为达到两个剧目相互补益,文武兼而有之的演出效果,所以两个剧目经常同台演出,因此,群众称之为“卷罗同台两下汤”。到了民国以后,群众就习惯直呼“卷罗戏”或“罗卷戏”,而不加区分了。本文从罗卷戏历史渊源与发展现状、唱腔音乐艺术、演唱风格、伴奏等几个方面初步研究了汝南罗卷戏的艺术特征,全文除了序言与结语外,共分四个部分。第一部分为概述。笔者通过综合相关史料和艺人相传的口碑深入分析研究,论证了明代末期发源于驻马店汝南的卷戏和清代初期流入汝南的罗戏这两个独具特色、古老稀有的民间传统剧种,在汝南县诞生已有360多年的历史渊源以及发展现状。第二部分为罗卷戏的唱腔艺术。笔者通过对它们唱腔音乐结构、戏文词格的研究,比较详细地梳理了罗卷戏唱腔结构和戏文词格,总结了它们的常用曲牌板式、并分别举例加以说明其唱腔艺术的丰富多彩及其独特性。第三部分为罗卷戏的演唱风格。笔者在这一章节里从方言演唱、有支持的呼吸、润腔技巧、以及声情并茂的演唱艺术等几个方面阐述了汝南罗卷戏真声咬字、假声行腔这一独特的演唱方法和技巧,具有浓厚的地方乡音色彩,继承发展了其它剧种所不具备的表演特色。第四部分为罗卷戏伴奏。流行于汝南县的罗卷戏,其伴奏罗戏除了一般戏剧乐队常用的小五件外,别具特色的是还配有一套特殊的打击乐器——四大扇。罗卷戏中的锣鼓点也大大不同于其他剧种,形成了别具一格的打击特色。其伴奏乐队都是除打击乐器外,只配有吹管乐器伴奏唱腔而都不使用弦乐。
[Abstract]:The object of this study is the scroll opera originated in Runan Zhumadian in the late Ming Dynasty and the Luo Opera which flowed into Runan in the early Qing Dynasty. The main instrument of the scroll play is the small suona (commonly called the small flute), so the folk is also called the Xiaodizi opera. The main instrument of Inluo Opera is the big suona. Folk people also call it the big flute opera, the big flute Luo Luo. Later on, because of the scroll play, the Luo opera was good at performing the literary scene, and the Luo opera was good at performing the martial arts. In order to achieve the performance effect that the two plays complement each other, the two plays often performed together, so the two plays often performed on the same stage. After the Republic of China, the masses were used to calling the "Scroll play" or "Luo Scroll Opera" without distinction. This paper studies the artistic characteristics of Runan Luo Scroll from the aspects of historical origin and present situation, singing style, singing style and accompaniment, etc. The full text is divided into four parts except preface and conclusion. The first part is an overview. By synthesizing relevant historical data and the word-of-mouth analysis of artists, the author demonstrates the unique features of the scroll dramas originated from Zhumadian Runan in the late Ming Dynasty and the Luo Opera which flowed into Runan in the early Qing Dynasty. The ancient and rare folk traditional drama has been born in Runan County for more than 360 years. The second part is the singing art of Luo roll opera. Through the study of their singing music structure and the style of the words in the play, the author combs the singing structure and the style of the words in the play in detail, and summarizes their commonly used song-board style. Examples are given to illustrate the variety and uniqueness of its singing art. The third part is the singing style of Luo roll drama. In this chapter, the author expounds the real pronunciation of Runan Luo roll drama from several aspects, such as dialect singing, supportive breathing, moistening technique, and singing art with mixed feelings. The unique singing method and technique of falsetto, which has strong local local sound color, inherits and develops the performance characteristics that other kinds of plays do not have. The 4th part is the accompaniment of the Luo roll opera. The Luo roll opera, popular in Runan County, is accompanied by five pieces, except for the five pieces commonly used by the general theatrical band. What is unique is that it also has a special percussion instrument-the four big fans. The gongs and drums in the Luo roll opera are also greatly different from other kinds of plays, forming a unique attack feature. The accompaniment bands are all except percussion instruments. No strings are used except for wind instruments.
【学位授予单位】：河南大学
【学位级别】：硕士
【学位授予年份】：2009
【分类号】：J825

【引证文献】