从《白毛女》到《苍原》的创作比较看中国歌剧之发展
发布时间：2018-08-27 13:48
【摘要】： 从民族歌剧的奠基之作《白毛女》,历经几代歌剧创作者呕心沥血、孜孜不倦的探索,发展至中国歌剧史上的巅峰之作《苍原》,我们可以深切体会到中国歌剧在汲取传统艺术营养、拓展歌剧表现形式等方面做出的努力与变革。中国歌剧不仅具有西洋歌剧的特征,更重要的是它吸收了许许多多中华民族艺术的精华,形成了具有中国特色的歌剧艺术。 随着新世纪的到来,中国民族歌剧遇到了前所未有的机遇和挑战,中国歌剧走向何方始终是音乐界的焦点。当我们将目光投向历史,或许从中国民族歌剧发展道路中所取得的经验会给我们启迪。本文通过对代表性歌剧《白毛女》和《苍原》的创作进行比较,探寻中国歌剧发展过程中的创新实践,为发展二十一世纪的中国民族歌剧提供一些可以借鉴的实践经验。 全文分为四个章节: 第一章在西方歌剧发展史上,对不同时期音乐风格的特点进行了介绍及简要分析。结合中国歌剧的阶段性发展,从中西音乐史学研究的角度提出对中国歌剧发展道路规律性的思考。 第二章是本文的主体部分,着重比较了《白毛女》与《苍原》这两部中国歌剧经典的创作风格,在音乐风格,歌唱表演和舞台艺术等方面创作手法的共性和差异性。并简要介绍了这两部歌剧期间其他几部作品在艺术风格转折点上的特点,由点及面地叙述了中国歌剧在不同时期的创作主流所具有的特点,描述了中国歌剧艺术风格之间的传承与发展。 第三章从社会背景、文化变迁角度,剖析造成中国歌剧艺术风格不同的民族性、戏剧性不均衡等原因。同时分析了审美情趣,人文精神等内在美学价值对中国歌剧风格确立的影响。 第四章通过对中国歌剧未来发展的几个关键因素进行探讨,从而对中国歌剧创作风格的可能发展方向进行大胆推测,进而在保持中国歌剧民族性特色、实现与世界文化接轨的意义下,为繁荣与振兴中国歌剧提出个人见解与拓展思路。
[Abstract]:After several generations of opera creators'painstaking efforts and tireless exploration, the founding work of the national opera, The White-haired Lady, has developed to the peak work of Cangyuan in the history of Chinese opera. We can deeply appreciate the efforts and changes made by Chinese opera in absorbing the nutrition of traditional art and expanding the forms of opera expression. It has the characteristics of Western opera, and more importantly, it absorbs the essence of many Chinese National Arts and forms the opera art with Chinese characteristics.
With the arrival of the new century, China's national opera has encountered unprecedented opportunities and challenges, and the direction of Chinese opera has always been the focus of the music circle.When we look to history, perhaps the experience gained from the development of Chinese national opera will give us inspiration. This paper compares the creation of Chinese opera, explores the innovative practice in the development of Chinese opera, and provides some practical experience for the development of Chinese National Opera in the 21st century.
The full text is divided into four chapters.
In the first chapter, the characteristics of musical styles in different periods are introduced and briefly analyzed in the history of Western opera. Combining with the phased development of Chinese opera, the regularity of the development of Chinese opera is put forward from the perspective of Chinese and Western music history.
The second chapter is the main part of this paper. It mainly compares the creative styles of the two classical Chinese operas, namely White-haired Girl and Cangyuan, and the similarities and differences of their creative techniques in music style, singing performance and stage art. This paper describes the characteristics of the mainstream of Chinese opera creation in different periods and describes the inheritance and development of the artistic style of Chinese opera.
In the third chapter, from the perspective of social background and cultural change, the author analyzes the reasons for the different national and dramatic styles of Chinese opera, and the influence of aesthetic taste and humanistic spirit on the establishment of Chinese opera style.
Chapter four probes into the key factors of the future development of Chinese opera, and makes bold speculation on the possible development direction of Chinese opera writing style, and then puts forward personal opinions and expanding ideas for the prosperity and revitalization of Chinese Opera under the significance of maintaining the national characteristics of Chinese opera and realizing the integration with the world culture.
【学位授予单位】：山西大学
【学位级别】：硕士
【学位授予年份】：2009
【分类号】：J822
本文编号：2207476
[Abstract]:After several generations of opera creators'painstaking efforts and tireless exploration, the founding work of the national opera, The White-haired Lady, has developed to the peak work of Cangyuan in the history of Chinese opera. We can deeply appreciate the efforts and changes made by Chinese opera in absorbing the nutrition of traditional art and expanding the forms of opera expression. It has the characteristics of Western opera, and more importantly, it absorbs the essence of many Chinese National Arts and forms the opera art with Chinese characteristics.
With the arrival of the new century, China's national opera has encountered unprecedented opportunities and challenges, and the direction of Chinese opera has always been the focus of the music circle.When we look to history, perhaps the experience gained from the development of Chinese national opera will give us inspiration. This paper compares the creation of Chinese opera, explores the innovative practice in the development of Chinese opera, and provides some practical experience for the development of Chinese National Opera in the 21st century.
The full text is divided into four chapters.
In the first chapter, the characteristics of musical styles in different periods are introduced and briefly analyzed in the history of Western opera. Combining with the phased development of Chinese opera, the regularity of the development of Chinese opera is put forward from the perspective of Chinese and Western music history.
The second chapter is the main part of this paper. It mainly compares the creative styles of the two classical Chinese operas, namely White-haired Girl and Cangyuan, and the similarities and differences of their creative techniques in music style, singing performance and stage art. This paper describes the characteristics of the mainstream of Chinese opera creation in different periods and describes the inheritance and development of the artistic style of Chinese opera.
In the third chapter, from the perspective of social background and cultural change, the author analyzes the reasons for the different national and dramatic styles of Chinese opera, and the influence of aesthetic taste and humanistic spirit on the establishment of Chinese opera style.
Chapter four probes into the key factors of the future development of Chinese opera, and makes bold speculation on the possible development direction of Chinese opera writing style, and then puts forward personal opinions and expanding ideas for the prosperity and revitalization of Chinese Opera under the significance of maintaining the national characteristics of Chinese opera and realizing the integration with the world culture.
【学位授予单位】：山西大学
【学位级别】：硕士
【学位授予年份】：2009
【分类号】：J822
【参考文献】
相关期刊论文 前1条
1 郭建民;20世纪20-60年代的中国歌剧表演艺术[J];音乐研究;2002年01期
，本文编号：2207476
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