越调表演艺术家毛爱莲唱腔研究

发布时间：2018-05-24 07:38

本文选题：越调 + 毛爱莲　；参考：《浙江师范大学》2016年硕士论文

【摘要】：作为一个历史悠久,且是河南地方戏曲的三大剧种之一的越调,其本身有着极为重要的研究价值。追溯源流,它主要分布于于河南省的南部、东部,以及湖北省的西北地区、陕西省的东南部分、安徽省西北的一部分、山西省的东南和河北省的南部的部分地区。兴盛于十九世纪末二十世纪初之际,20世纪40年代之后开始走向衰落。党的十一届三中全会召开之后,逐渐复苏,但是这种状况持续的时间并不长久,60年代再度面临戏曲危机。纵观越调的整个发展历程是属于跌宕起伏式的。2006年被列为国家级第一批的非物质遗产,2008年著名越调表演艺术家毛爱莲被列为国家级非物质文化遗产越调代表性传承人。越调有着独具魅力的表演风格和扎实的群众基础,是一个无论在文化资源丰富抑或是学科领域,都有着极为广泛并有着极高研究价值和保留价值的剧种。笔者对本文将进行五个部分且对越调音乐进行深刻的分析论述。第一部分：越调音乐的剧种概述。本章内容,笔者就关于越调音乐,对此剧种的文献资料进行整理归纳,并进行合理性的总结与思考；发展历程则是从越调音乐的产生、发展、兴盛和衰落以及再兴盛、再衰落这几部分进行总结的。越调音乐的剧目分类则是从越调大小传统剧目500出左右中分析归纳出正装戏和外装戏两大类。越调音乐的主要流派则是从河南的地域分布、演唱风格和艺术形式来划分为婉约派和豪放派两大流派。第二部分：毛爱莲的艺术人生。本章内容,笔者就越调婉约派的代表人物毛爱莲的艺术人生进行分析和整理,分别从毛爱莲的艺术生涯、艺术成就、人才的培养几个方面进行分析。第三部分：毛爱莲的戏曲唱腔研究。笔者就毛爱莲的戏曲唱腔研究分别从毛爱莲的戏曲人物特征、毛爱莲的戏曲唱腔特征、毛爱莲的戏曲风格特征几个方面进行论述的,突出其自身唱腔的特殊性。第四部分：毛爱莲对越调音乐的传承与改革。在本章内容,笔者就毛爱莲对越调音乐的传承与改革进行了分析与梳理。一是对越调的传承从融会贯通、博采众长两个方面分析；二是对越调音乐的改革从与时俱进、固本求变、紧贴人物三个方面论述的。第五部分：越调音乐唱腔的审美特征。本章内容,笔者是从戏曲唱腔的美学价值、戏曲人物形象的美学价值两方面分析的,其中通过思考与现有的资料看,如何保持与时俱进与大众审美观保持一致,提出自己的想法。第六部分：以越调“毛派”为例,对戏曲流派当下传承的思考并提出的策略。本章内容,笔者是从扩大越调影响力、加强人才队伍建设、增加越调的宣传力度、打造越调精品剧目四方面进行思考的。
[Abstract]:As a long history and one of the three kinds of Henan local opera, Yue Diao has its own extremely important research value. It is mainly distributed in the south and east of Henan Province, as well as in the northwest part of Hubei Province, the southeast part of Shaanxi Province, the part of northwest Anhui Province, the southeast part of Shanxi Province and the part of southern part of Hebei Province. It flourished in the late nineteenth century and the early twentieth century, and began to decline after the 1940s. After the third Plenary session of the 11th CPC Central Committee, the party gradually recovered, but this situation did not last for a long time. In 2006, it was listed as the first batch of national intangible heritage, and in 2008 the famous Yue Diao performing artist Mao Ailian was listed as the representative inheritor of the national intangible cultural heritage. Yuanyuan has a unique and charming acting style and a solid mass foundation. It is a kind of drama with extremely extensive research value and high retention value, no matter in the rich cultural resources or in the subject field. The author will carry on five parts to this text and carry on the profound analysis and exposition to the overtone music. The first part: an overview of overtone music. In this chapter, the author collates and summarizes the literature about Yue tune music, and sums up and ponders the rationality of it. The course of development is from the generation, development, prosperity, decline and re-prosperity of Yue tune music. Then the decline of these parts of the summary. The repertoire classification of overtone music is to analyze and generalize two categories of formal drama and outfitting play from about 500 traditional repertoire. The main schools of Yue tune music are divided into two schools from the regional distribution, singing style and artistic form of Henan. The second part: Mao Ailian's artistic life. In this chapter, the author analyzes and arranges the artistic life of Mao Ailian, the representative figure of Yue Diao graceful School, from the aspects of Mao Ailian's artistic career, artistic achievements and the cultivation of talents. The third part: Mao Ailian's opera singing research. The author discusses Mao Ailian's opera singing from the aspects of Mao Ailian's characters, Mao Ailian's opera singing and Mao Ailian's opera style, which highlights the particularity of her own singing. The fourth part: the inheritance and reform of Yue tune music by Mao Ailian. In this chapter, the author analyzes and combs the inheritance and reform of Yue tune music by Mao Ailian. The first is to analyze the inheritance of Yue tune from two aspects: integration and extensive learning; second, the reform of Yue tune music from three aspects: keeping pace with the times, maintaining the foundation and seeking change, and clinging to the characters. The fifth part: the aesthetic characteristics of Yue tune music. In this chapter, the author analyzes the aesthetic value of the opera singing and the aesthetic value of the character image of the opera, among which, through thinking and the existing materials, how to keep pace with the times and keep consistent with the public aesthetics, Come up with your own ideas. The sixth part: taking the Maoist school as an example, thinking about the inheritance of opera school and putting forward the strategy. The content of this chapter, the author is from the expansion of influence, strengthen the construction of talent team, increase the tone of propaganda, create more fine plays four aspects of thinking.
【学位授予单位】：浙江师范大学
【学位级别】：硕士
【学位授予年份】：2016
【分类号】：J617.5

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