昆曲清唱与剧唱比较研究

发布时间：2018-06-30 09:39

本文选题：昆曲 + 清唱　；参考：《中国传媒大学》2009年硕士论文

【摘要】： 昆曲是文人曲,在历史上一直存在着“唱曲”与“唱戏”的分化现象。传统上把“唱而不演”谓之“清”,即清唱,把舞台上的戏曲演唱称为剧唱。昆曲清唱发展到后期以清唱剧曲为主,偶尔也吟唱散曲等文学作品。然而,自昆曲清唱产生之初,文人曲家就把它与剧唱严格区分开来,昆曲清唱不是昆剧的附庸。从古典戏曲论著中可以看出,前人把清唱的地位抬得比剧唱高。一方面是因为清唱的主要参与者是文人士大夫,其社会地位就比戏曲艺人高得多;另一方面则是艺人的水化水平很低,唱曲很难谨守格律,文人对此多持鄙夷态度。因此,前人一股认为清唱吐字准确,剧唱讹误较多;清唱严格遵守格律,剧唱喜欢随意添加花腔;清唱节奏缓慢,悠游闲雅,剧唱紧凑热闹;清唱高雅,剧唱“媚俗”。笔者在本文之中除了梳理古典戏曲论著中有关昆曲清唱与剧唱的理论外,还选取了近现代多位著名曲家和演员的录音,运用汉语语音学、音乐学、戏剧戏曲学等学科的研究方法对这些录音样本进行了分析对比。从比较的结果来看,昆曲清唱与剧唱在发音吐字方面都难以做到完全“正确”,只是二者参照的标准不同。清唱的字音以韵书为标准,剧唱的发音吐字则受师承的影响更为直接,而无论是清唱还是剧唱的发音吐字都与唱曲者的背景、经历以及对语言的价值取向有关。昆曲清唱与剧唱在唱腔旋律上的差别,主要是对四声腔格的处理以及唱曲口法的运用不同。在演唱速度方面,清唱快慢如一,剧唱的速度依剧情而定。清唱相对于剧唱来说不注重或不强调音乐表情的处理。昆曲清唱与剧唱在“气质”等方面也存在一定的差别。此外,由于唱曲者中存在着师承关系的交叉以及一人兼跨两界等情况,昆曲清唱与剧唱并不完全对立,二者之间常互相影响或出现相融合的现象。
[Abstract]:Kunqu Opera is a literati song, and there has always been a phenomenon of "singing" and "singing" in history. Traditionally, "singing but not performing" is called "Qing", that is, the singing of the opera on the stage. Kunqu Opera was mainly composed of oratorio in its late stage, and occasionally chanted Sanda and other literary works. However, from the beginning of Kunqu Opera, literati singers have strictly distinguished it from melodies, and Kunqu Opera is not an appendage of Kunqu Opera. It can be seen from the classical opera works that the predecessors raised the status of the chorus to a higher level than that of the opera. On the one hand, the main participants in the singing are literati and bureaucrats, whose social status is much higher than that of the opera entertainers; on the other hand, the artists' water level is very low, and it is very difficult to follow the rules of singing songs. The literati have a disdainful attitude towards this. Therefore, the forefathers thought that the singing was accurate and the drama was wrong; the chorus strictly obeyed the rules, and the operas liked to add flowers at will; the rhythm was slow, leisurely and elegant, and the singing was tight and lively; the chorus was elegant, and the singing was "kitsch". In this paper, in addition to combing out the theories of Kunqu singing and singing in classical opera works, the author also selects the recordings of many famous qujias and actors in modern times, using Chinese phonetics, musicology, etc. The research methods of drama and drama are analyzed and compared. From the results of comparison, it is difficult for both Kunqu Opera and operatic singing to be "correct" in pronunciation, but the standard of reference between them is different. The pronunciation of the singing is based on the rhyme book, and the pronunciation of the dramatic singing is more directly influenced by the teacher. Both the singing and the singing pronunciation are related to the background, experience and value orientation of the singer. The difference between the singing of Kunqu Opera and that of the opera is mainly the treatment of the four-tone box and the application of the singing method. In terms of singing speed, the rapidity of singing is as fast as one, and the speed of singing depends on the plot. The treatment of musical expressions is not emphasized or emphasized in the performance of the ensemble. There are some differences between Kunqu Opera singing and opera singing in temperament and so on. In addition, due to the crossover of the relationship between teachers and students and the fact that one person also crosses two boundaries, Kunqu Opera singing and opera are not completely opposed to each other, and the two often influence each other or merge with each other.
【学位授予单位】：中国传媒大学
【学位级别】：硕士
【学位授予年份】：2009
【分类号】：J825

【共引文献】