宁河戏小生唱腔的借鉴研究

发布时间：2018-06-17 19:00

本文选题：宁河戏 + 小生　；参考：《中央民族大学》2011年硕士论文

【摘要】：宁河戏是江西省特有的古老的大型地方剧种之一,古称“宁州大戏”,发源于江西省修水县,迄今已有四百多年的历史,具有显著的地方特色和艺术风貌。曾在赣西北修水、武宁、铜鼓等县以及赣、鄂、湘毗邻地区广为流行,深受群众喜爱。宁河戏最初是由酬神还愿的傩戏发展而成,经过几百年的发展和演变,逐渐形成了以皮簧腔为主、兼收昆曲、徽调和民歌小调的综合声腔体——乱弹腔(属皮黄声腔体系)。行当划分十分齐全,早期为“九角头”(即三生、三旦、三净),后受徽班影响,改为“十顶网子”外加四个贴补(即一末、二净、三生、四旦、五丑、六外、七小、八贴、九夫、十杂和生、旦、净和闺门旦四个贴补)。主要伴奏乐器为：胡琴、月琴、三弦三大件及唢呐、笛子和打击乐器组成。在宁河戏的各个行当中,小生行当是最难训练、人才最稀缺的一个行当,但同时也是最富有艺术魅力和表现力的行当。首先,宁河戏小生的用嗓方法不同于其他行当,讲究的是“本嗓”与“小嗓”的结合；其次,宁河戏小生的咬字行腔有着严格的要求,必须遵从“唱功字当先,字正腔始圆,腔必跟字走,字音在腔前。”这二十字要诀；最后,宁河戏小生非常注重演唱情感的表达,演唱时必须做到“唱字即是唱情,情出于字,字抒于情”。经过一代又一代小生演员们在舞台上的艺术实践,积累了丰富的演唱经验和方法,包括小生唱腔的气息、共鸣、用嗓方法、咬字吐字、行腔润腔等方面,为小生唱腔的发展做出了重要的贡献。除此之外,经过笔者的调查研究,总结出了小生唱腔的三个演唱特性：语言的地方性、音色的传统性和方法的开放性,以及小生唱腔“依字出声、长短依情、分句断句、重在唱情”的艺术特征。本文除绪论和结语外,共分为三个章节进行论述。绪论部分阐述了本文研究的对象、背景、意义、现状和方法五个方面。第一章是对宁河戏及其“小生”的概述,分别从宁河戏的源流、主体声腔及音乐结构、还有小生及其行当的特点三个方面进行了梳理和论述,第一节主要介绍了宁河戏的起源、各个时期的发展情况以及宁河戏的基本特征,第二节则从宁河戏的主体声腔和音乐结构上进行了论述,第三节主要是对本文的研究对象“宁河戏小生”进行简要的概述；第二章是文章最重要的部分,是笔者经过对“宁河戏”小生唱腔的考察和研究后,系统地分析了宁河戏小生唱腔的演唱方法、咬字吐字和润腔技巧,并对其演唱特性和艺术特征进行了总结；第三章主要是结合笔者几年学习声乐中的一些粗浅认识,通过解析宁河戏小生唱腔演唱方法的可行性和优越性,从用嗓方法、咬字行腔和演唱情感三个方面,论述了民族声乐对宁河戏小生唱腔的借鉴。
[Abstract]:Ninghe Opera is one of the most ancient local operas in Jiangxi Province. It originated in Xiushui County, Jiangxi Province. It has a history of more than 400 years and has remarkable local characteristics and artistic features. Xiushui in northwest Jiangxi, Wuning, Tonggu counties, as well as Jiangxi, Hubei, Hunan adjacent areas, popular, deeply loved by the masses. Ninghe Opera was originally developed from the Nuo opera which paid God for his vows. After several hundred years of development and evolution, it gradually formed a comprehensive vocal cavity, which is composed of Kun Opera, Hui tune and folk song minor, which is composed of leather spring cavity and folk song tune. The division of the business was very complete. In the early days, it was "Jiu Jiao Tou" (that is, Sansheng, Sandan, Sanjing), and later affected by the emblem class, it was changed to "ten top nets" plus four supplements (i.e., one end, two net, three health, four days, five ugliness, six outer, seven small, eight stickers). Nine husband, ten miscellaneous and born, Dan, net and boudoir Dan four patches. The main accompaniment instruments are: Hu Qin, Yueqin, three pieces of three strings and suona, flute and percussion instruments. Among the various trades of Ninghe Opera, Xiao Sheng is the most difficult to train, the scarcest talent, but also the most artistic charm and performance of the industry. First of all, the method of using the voice of Xiaosheng in Ninghe Opera is different from that of other trades. He stresses the combination of "the original voice" and "the small voice"; secondly, the pronunciation of the line of words of Xiao Sheng of the Ninghe opera has strict requirements, and must comply with the "singing skill should first be the first word, the character is the beginning of the circle," The words must follow the words, and the sounds are in front of them. " Finally, Ninghe opera Xiao Sheng pays great attention to the expression of singing emotion. When singing, he must "sing the words, express the words". Through the artistic practice on the stage of generation after generation of actors and actresses, they have accumulated rich experience and methods of singing, including the breath of his singing, resonance, using his voice method, spelling words, and running her voice, and so on. For the development of Xiao Sheng singing made an important contribution. In addition, through the author's investigation and research, the author summarizes the three singing characteristics of Xiao Sheng's singing: the local language, the tradition of timbre and the openness of the method, and Xiao Sheng's singing "according to the word, the length according to the situation, the sentence break," The emphasis is on the artistic characteristics of "singing love". In addition to the introduction and conclusion, this article is divided into three chapters. The introduction describes the object, background, significance, current situation and methods of this study. The first chapter is an overview of Ninghe Opera and its "Xiaosheng", respectively from the source of Ninghe Opera, the main voice and music structure, as well as the characteristics of Xiaosheng and his business. The first section mainly introduces the origin of Ninghe Opera. The development of each period and the basic characteristics of Ninghe opera, the second section is from the main voice and music structure of Ninghe opera, the third section is a brief overview of the research object of this paper, "Ninghe Opera Xiao Sheng"; The second chapter is the most important part of the article, is the author of the "Ninghe Opera" after the investigation and study of the singing, the author systematically analyzed the singing methods, pronunciation and moistening techniques. The third chapter mainly combined with the author's several years of learning vocal music in some superficial understanding, through the analysis of the Ninghe opera singing method feasibility and superiority, from the voice method, This paper discusses the reference of national vocal music to the singing of Xiaosheng in Ninghe Opera.
【学位授予单位】：中央民族大学
【学位级别】：硕士
【学位授予年份】：2011
【分类号】：J825

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