论魏良辅的声腔改革

发布时间：2018-04-26 23:19

本文选题：昆曲 + 声腔改革　；参考：《艺术百家》2008年05期

【摘要】：魏良辅的声腔改革是对南曲音乐的综合改革,昆山腔不是昆曲的单一母体。魏良辅的声腔改革表现在三个方面,一是舞台语音排斥了正宗的苏州方言,而选定了"苏州—中州音",从而为昆曲吸收北曲和流传全国奠定了基础;二是发明了"依字行腔"的歌唱方法,即以字声、字韵决定演唱腔格,以求四声的中正得宜,从而进入一种"字清、腔纯、板正"的歌唱新境界;三是乐器伴春天的组合大成。由是论定:昆山腔、昆曲、昆剧不应该混为一谈,应把"国初"以顾坚为代表的地方声腔称为"昆山腔",把魏良辅的新声腔称为"昆曲",而把《浣纱记》以后昆曲歌舞演故事的形式称为"昆剧"。
[Abstract]:Wei Liangfu's vocal reform is a comprehensive reform of Nanqu music, and Kunshan is not a single parent of Kunqu Opera. Wei Liangfu's voice reform is manifested in three aspects: first, the stage speech rejected the authentic Suzhou dialect, and selected Suzhou-Zhongzhou Sound, which laid the foundation for Kunqu Opera to absorb and spread the northern music; Second, it invents the singing method of "according to the character line cavity", that is to say, with the word sound, the character rhyme decides to sing the cavity lattice, in order to seek the sound of four sound, thus enters a kind of new realm of singing "the character is clear, the cavity pure, the board is correct"; the third is the musical instrument is accompanied by the spring combination big achievement. The conclusion is that Kunshan Opera, Kunqu Opera and Kunshan Opera should not be confused. The local vocals represented by Gu Jian should be called "Kunshan Opera", Wei Liangfu's new voice should be called "Kunqu Opera", and the form of Kunqu Opera and Dance performance after Wun Sha should be called "Kunqu Opera".
【作者单位】：中国昆曲博物馆;江苏省昆剧院;
【基金】：全国艺术科学“十五”规划2005年度中华人民共和国文化部重点课题“昆曲学”(项目编号:98BGA06)阶段性成果之一
【分类号】：J616

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