豫剧唱腔结构动态研究（1900-1960）

发布时间：2018-06-26 22:49

本文选题：豫剧 + 唱腔　；参考：《福建师范大学》2012年博士论文

【摘要】：本文试图选取最具解释力的方向讨论豫剧唱腔从1900年代到1960年代六十余年在腔音、腔音列、腔节／腔韵、乐句、乐段、腔调、腔套、腔系、音阶调式等方面的动态变化,以期探求板腔体唱腔发展的规律。祥符调早期唱腔表现出“(活)唱—(定)腔—(伴奏)乐”分节式变化的动态规律,是山陕文化与中原文化分流—同化的辩证统一! 1900年前后豫东调和豫西调不约而同地放弃梆子腔系共性的讴腔,分别采用上五音和下五音,开启了豫剧史上唱腔改革的先声,是河南梆子文化内部一次裂变。 1930—1940年代以豫东调与豫西调的合流为特征,豫剧坤角分别在开封、西安,祥符调、沙河调、豫西调在界首同台搭班,开启了诸派相互吸收与借鉴的融合时代,体现了豫剧资源优化重组、能量聚集后的聚变特征。 1950—1960年代豫剧经历了一次更大规模的全面的改革。一是改编传统戏,如常香玉演出的“红、白、花”就是整理改编传统剧目的优秀成果；二是豫剧现代戏在创新板式、手法的基础上创造新唱腔：对生角唱腔进行了改革,形成了新派生角唱腔,引入了现代音乐元素合唱、重唱等,最终获得了现代戏如《朝阳沟》等的巨大成功,呈现出新声迭起,活力四射的窑变特征。豫剧唱腔结构六十年动态变迁呈现出嬗变之三义——变易、简易、不易,变易体现了器的维度,简易体现了道的维度,道与器发显为体用的统一,申张出豫剧的本位恒常,即不易。嬗变之三义彰显出中华传统思维阴阳以和,生生不息的辩证。
[Abstract]:This paper attempts to choose the most explanatory direction to discuss the dynamic changes of the singing of Henan opera from 1900s to 1960s in the aspects of cavity sound, phonetic sequence, cavity / rhyme, phrase, segment, tone, cavity, sleeve, system, scale, and so on. In order to explore the development of board cavity singing law. In the early stage of Xiangrong tune, the dynamic law of "(live) singing-(setting) tune-(accompaniment) music" was shown. It is the dialectical unity of shunt and assimilation between Shanshan culture and Central Plains culture! around 1900, the Eastern Henan Province and the Western Henan tune gave up the common mantra of the Bangzi system and adopted the upper five notes and the lower five notes respectively. It is a fission within the culture of Henan Bangzi. In the 1930-1940 's, it was characterized by the confluence of eastern Henan and western Henan, in Kaifeng, Xi'an, Xiangfu, Shahe, respectively, in Kaifeng, Xi'an, Xiangfu, and Shahe. The western Henan province was transferred to the same station in the border, which opened the fusion era of the different schools' mutual absorption and reference, and embodied the optimization and reorganization of the resources of Henan opera. The characteristics of fusion after energy accumulation. Henan opera experienced a larger scale comprehensive reform in 1950-1960 s. One is the adaptation of traditional drama, such as "Red, White, and Flower" performed by Chang Xiangyu, which is the excellent result of arranging and adapting the traditional repertoire; the other is that the modern opera of Henan Opera has created a new singing style on the basis of innovating the board style and means: the singing of the living horn has been reformed. New derivative singing was formed, and modern music elements were introduced, such as chorus, duet and so on. Finally, great success of modern opera such as Chaoyang ditch was obtained. The dynamic changes in the singing structure of Henan opera over the past 60 years present three meanings of transmutation, which are simple, difficult, and easy to reflect the dimension of the instrument, the dimension of Tao, the unity of the Tao and the appearance of the organ as the body, and the constant standard of the Henan opera. Not easy. The three meanings of transmutation reveal the dialectical of yin and yang in Chinese traditional thinking.
【学位授予单位】：福建师范大学
【学位级别】：博士
【学位授予年份】：2012
【分类号】：J825

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