昆曲商调曲牌曲腔关系研究
发布时间：2019-06-02 09:02
【摘要】： 昆曲起源于江苏省昆山地区，是中国现存最古老的声腔艺术品种之一。2001年，昆曲被联合国教科文组织列入首批“人类口头和非物质文化遗产代表作”保护名录。本文选取昆曲(南曲)商调曲牌曲腔关系作为研究对象，借鉴民族音乐学的研究方法，从文化的脉络中研究音乐，在微观音乐形态分析基础上，探讨影响昆曲商调曲牌曲腔关系的诸多因素，进而阐释昆曲商调曲牌曲腔关系的核心本质。昆曲商调曲牌曲腔关系的研究成果对昆曲文化遗产保护有积极促进作用。 本文共三章。第一章从昆曲南曲的商调入手，对昆曲商调十九个曲牌中的上百首唱段进行音乐形态分析，探讨了每个具体曲牌曲腔关系的规律性以及商调引子曲牌、孤牌自套曲牌、联套曲牌三个曲牌类别的各自规律性特征。第二章在阐释昆曲商调引子曲牌、孤牌自套曲牌和联套曲牌各自曲牌功能性的基础上，结合三个曲牌类别各自曲腔关系的特征，阐释了它们在整个商调系统内的个性因素。通过对三个曲牌类别共性因素的提炼，总结出昆曲商调系统曲牌曲腔关系的不变因素是“一个旋律骨干音型和两个特性音型”。这属于昆曲商调曲牌系统“框格”的范畴。通过对各个剧目中唱词与昆曲唱腔音乐内在联系的研究，，笔者总结出唱词句群韵脚处的统一押韵与昆曲曲牌各句群句尾韵脚处统一落音具有同一性，提出诸多昆曲唱腔中“文人性”的因素都彰显出昆曲“音韵声腔艺术”的命题。 基于前两章昆曲商调系统曲牌曲腔关系特征的结论，第三章就影响昆曲曲腔关系的诸多因素进行剖析。首先，笔者对表演创作过程中呈现出的昆曲曲腔关系进行阐释，通过前两章的音乐形态分析及理论提炼，凸现了昆曲商调曲牌曲腔关系“一与多”的哲学基础及昆曲商调曲牌曲腔关系中普适性与特殊性关系的审美内涵。认为在昆曲“历史建构”过程中，“唱词、唱腔、口法唱法”的三角合力结构对昆曲曲腔关系的保持具有直接影响作用。昆曲在“个人创造与体验”历史进程中的两条传承脉络对昆曲曲腔关系的传承提供重要保障。桌台清曲对昆曲曲腔关系的严格恪守与舞台剧曲适当迎合观众之间矛盾的背后蕴藏着经济行为方式的作用。正是桌台清曲对舞台剧曲某种程度上的制约，使得昆曲曲腔关系在上百年的历史长河中，依旧保持完好，日久弥新。
[Abstract]:Kunqu Opera, which originated in Kunshan area of Jiangsu Province, is one of the oldest existing vocal cavity art varieties in China. In 2001, Kunqu Opera was listed as the first batch of "Human Oral and Intangible Cultural Heritage Representative works" by the United Nations Educational, Scientific and Cultural Organization (UNESCO). This paper selects Kunqu Opera (Nanqu) as the research object, draws lessons from the research method of ethnomusicology, studies music from the context of culture, and on the basis of the analysis of microcosmic music form, This paper probes into many factors that affect the relationship between Shang tune and card cavity in Kunqu Opera, and then explains the core essence of the relationship between Shang tune and card cavity in Kunqu Opera. The research results of the relationship between Kunqu Opera's commercial tunes play a positive role in promoting the protection of Kunqu Opera's cultural heritage. There are three chapters in this paper. The first chapter starts with the commercial tune of Kunqu Opera South Opera, analyzes the music form of hundreds of the 19 songs in Kunqu Opera, and discusses the regularity of the relationship between each specific song and card, as well as the introduction of sub-music card and lone card. The respective regular characteristics of the three types of songs and cards. The second chapter explains the personality factors of Kunqu Opera in the whole commercial tone system on the basis of explaining the function of each piece of Kunqu Opera, the lone card and the linked card, and combining with the characteristics of the relationship between the three types of music and the cavity of the three types of music and music, and explains their personality factors in the whole commercial tone system. Through the extraction of the common factors of the three types of music, it is concluded that the invariant factors of the relationship between the tunes of Kunqu Opera and the commercial tune system of Kunqu Opera are "one melody backbone sound type and two characteristic sound types". This belongs to the category of Kunqu Opera Commercial tune Card system. Through the study of the internal relationship between singing words and Kunqu Opera singing music in each repertoire, the author sums up that the unified rhyme of singing words and sentences has the same identity with the unified rhyme at the end of each sentence of Kunqu Opera. It is pointed out that many factors of "literary human nature" in Kunqu Opera show the proposition of "phonological and vocal cavity art" in Kunqu Opera. Based on the conclusion of the first two chapters, the third chapter analyzes many factors that affect the relationship between Kunqu Opera and Kunqu Opera. First of all, the author explains the relationship between Kunqu Opera and music in the process of performance creation, through the analysis of music form and theoretical extraction in the first two chapters. This paper highlights the philosophical basis of the relationship between "one and more" in Kunqu Opera and the aesthetic connotation of the relationship between universality and particularity in the relationship between Shang tune and cavity in Kunqu Opera. It is considered that in the process of "historical construction" of Kunqu Opera, the triangular joint force structure of "singing ci, singing and oral singing" has a direct influence on the maintenance of the relationship between Kunqu Opera and qu. The two inheritance lines of Kunqu Opera in the historical process of "personal creation and experience" provide an important guarantee for the inheritance of the relationship between Kunqu Opera and Kunqu Opera. There is a function of economic behavior behind the strict adherence to the relationship between Kunqu Opera and the proper catering of stage plays to the audience. It is the restriction of table Qing qu to some extent on stage drama, which makes the relationship between Kunqu Opera and Kunqu Opera in the long history of hundreds of years, still in good condition and renewed for a long time.
【学位授予单位】：中国艺术研究院
【学位级别】：博士
【学位授予年份】：2008
【分类号】：J617.5;J825
本文编号：2490975
[Abstract]:Kunqu Opera, which originated in Kunshan area of Jiangsu Province, is one of the oldest existing vocal cavity art varieties in China. In 2001, Kunqu Opera was listed as the first batch of "Human Oral and Intangible Cultural Heritage Representative works" by the United Nations Educational, Scientific and Cultural Organization (UNESCO). This paper selects Kunqu Opera (Nanqu) as the research object, draws lessons from the research method of ethnomusicology, studies music from the context of culture, and on the basis of the analysis of microcosmic music form, This paper probes into many factors that affect the relationship between Shang tune and card cavity in Kunqu Opera, and then explains the core essence of the relationship between Shang tune and card cavity in Kunqu Opera. The research results of the relationship between Kunqu Opera's commercial tunes play a positive role in promoting the protection of Kunqu Opera's cultural heritage. There are three chapters in this paper. The first chapter starts with the commercial tune of Kunqu Opera South Opera, analyzes the music form of hundreds of the 19 songs in Kunqu Opera, and discusses the regularity of the relationship between each specific song and card, as well as the introduction of sub-music card and lone card. The respective regular characteristics of the three types of songs and cards. The second chapter explains the personality factors of Kunqu Opera in the whole commercial tone system on the basis of explaining the function of each piece of Kunqu Opera, the lone card and the linked card, and combining with the characteristics of the relationship between the three types of music and the cavity of the three types of music and music, and explains their personality factors in the whole commercial tone system. Through the extraction of the common factors of the three types of music, it is concluded that the invariant factors of the relationship between the tunes of Kunqu Opera and the commercial tune system of Kunqu Opera are "one melody backbone sound type and two characteristic sound types". This belongs to the category of Kunqu Opera Commercial tune Card system. Through the study of the internal relationship between singing words and Kunqu Opera singing music in each repertoire, the author sums up that the unified rhyme of singing words and sentences has the same identity with the unified rhyme at the end of each sentence of Kunqu Opera. It is pointed out that many factors of "literary human nature" in Kunqu Opera show the proposition of "phonological and vocal cavity art" in Kunqu Opera. Based on the conclusion of the first two chapters, the third chapter analyzes many factors that affect the relationship between Kunqu Opera and Kunqu Opera. First of all, the author explains the relationship between Kunqu Opera and music in the process of performance creation, through the analysis of music form and theoretical extraction in the first two chapters. This paper highlights the philosophical basis of the relationship between "one and more" in Kunqu Opera and the aesthetic connotation of the relationship between universality and particularity in the relationship between Shang tune and cavity in Kunqu Opera. It is considered that in the process of "historical construction" of Kunqu Opera, the triangular joint force structure of "singing ci, singing and oral singing" has a direct influence on the maintenance of the relationship between Kunqu Opera and qu. The two inheritance lines of Kunqu Opera in the historical process of "personal creation and experience" provide an important guarantee for the inheritance of the relationship between Kunqu Opera and Kunqu Opera. There is a function of economic behavior behind the strict adherence to the relationship between Kunqu Opera and the proper catering of stage plays to the audience. It is the restriction of table Qing qu to some extent on stage drama, which makes the relationship between Kunqu Opera and Kunqu Opera in the long history of hundreds of years, still in good condition and renewed for a long time.
【学位授予单位】：中国艺术研究院
【学位级别】：博士
【学位授予年份】：2008
【分类号】：J617.5;J825
【引证文献】
相关博士学位论文 前1条
1 陈文革;豫剧唱腔结构动态研究（1900-1960）[D];福建师范大学;2012年
相关硕士学位论文 前1条
1 罗殷;湘地的昆曲[D];中央音乐学院;2012年
本文编号：2490975
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