【作者】 郭进怀；

【导师】 贾志刚；

【作者基本信息】 中国艺术研究院 ， 戏剧戏曲学， 2014， 博士

【摘要】 众所周知,音乐是一种通过一定形式的声音来表达人们思想感情和生活的艺术。其操纵者通过演唱或演奏达到感染人的目的,受众对操乐行为本身往往也构成一种欣赏。正因如此,这种操乐行为往往又衍化出一种表演唱或表演性质的演奏,典型的是表演唱,可以装扮,一般是在服装等方面,甚至可以有道具,但都是歌唱的辅助手段,为歌唱服务。音乐一旦融入戏曲艺术便产生了戏曲音乐,这时的音乐便丧失了作为纯音乐的独立性,受戏剧所制约,成为一种戏剧性的音乐,具有了戏剧性的特征。扬剧作为戏曲中地方戏的一种,其音乐同样是为这种扬州地方戏服务的,必须用富于扬州特色的语言、音调来为创造戏剧形象服务。本论文立足于戏曲音乐戏剧性的理论,在不涉及扬剧音乐与舞台表演相结合的情况下,从扬剧唱腔曲牌的戏剧性角度入手,通过分析扬剧音乐的戏剧性手法,达到破解扬剧流派唱腔戏剧性特征的目的,进而揭示出扬剧唱腔以致以此角度探析出的扬剧音乐戏剧性的审美特征。论证章节如下：第一章,戏曲音乐的戏剧性审美特征。首先,探讨了什么是戏剧艺术的戏剧性,进而论证了冲突是戏剧艺术的本质特征。其次,以戏曲唱腔为论证重点,探讨戏曲唱腔的戏剧性审美特征,涉及戏曲以唱为主形式形成的历史原因和戏曲唱腔的韵味与意境。第二章,扬剧常用唱腔曲牌的戏剧性表现。首先,根据扬剧音乐戏剧性功能的内在要求给曲牌分类。然后,结合剧目在特定的戏剧情境与冲突中对曲牌的戏剧性特征加以具体论证。第三章,扬剧音乐创造戏剧性的手法。扬剧音乐结构体式属于曲牌联套体,因此,在结合剧目基础上,从曲牌联套、板式变化、行当唱法、唱念形式、文武场音乐等方面对扬剧音乐塑造戏剧性的手法作具体分析论证。第四章,扬剧流派唱腔的戏剧性。本章试图以流派唱腔为典型例证,剖析扬剧唱腔的戏剧性特征。具体从流派创始人的学艺、舞台生涯等背景入手,通过典型性唱腔曲牌及唱段的分析论证,探寻富于个性的流派唱腔戏剧性特征,进而窥探出富于代表性的扬剧唱腔的戏剧性特征。第五章,扬剧音乐戏剧性的审美阐释。首先,探讨了扬剧音乐赖以生存的扬州文化背景。然后,从民间性、地方性、包容性和内在气质等角度论证了扬剧音乐戏剧性的审美特征。更多还原

【Abstract】 As is known to all, music is an art form expressing thoughts and feelings as well as life by means of certain forms of sounds. The performer tries to achieve the purpose of infection by singing or playing, while audiences tend to hold a kind of appreciation towards music-playing behavior itself. Because of this, a form of singing with actions or play with the nature of performance can be derived from it. The typical one is singing with actions. Dressing-up, generally in costumes, etc., even properties are used which are taken as supplementary means to serve singing. Once the music is integrated into the opera art and the opera music comes into being. At this time, being restricted by the opera, the music loses the independence as a pure music form, and becomes a kind of opera music with dramatic characteristics. As a form of local opera, Yangzhou opera’s music also needs to serve the local opera of Yangzhou. Language and tones rich in characteristics of Yangzhou must be used in Yangzhou opera in order to create a dramatic image. Based on the theory of dramaticism of opera music, without involving the situation of combining Yangzhou opera music with the stage performance, the thesis aims at conducting a research from the perspective of dramaticism of Yangzhou opera aria Qupai. By analyzing the dramatic techniques of Yangzhou opera music, the thesis tries to achieve the goal of cracking the dramatic characteristics of Yangzhou opera genre aria, and furthermore, to reveal the Yangzhou opera aria. From this angle, the author explores the dramatic aesthetic characteristics of Yangzhou opera music. The thesis contains five main chapters:The content of Chapter one is about the dramatic aesthetic characteristics of opera music. Firstly, it discusses what dramaticism of an opera art is, and demonstrates that the conflict is the essential characteristics of an opera art. And then, the argument mainly focuses on the dramatic aesthetic features of opera aria, involving the historical reasons for the opera with singing as the major form, together with the lasting appeal and artistic conception of opera aria.Chapter two is a research on the dramatic performance of commonly used aria Qupai. First of all, based on the basic requirement of the dramatic function of Yangzhou opera music, the author gives classification on Qupai. Then, specific arguments focus on the dramatic characteristics of Qupai, combing with the particular dramatic situation and conflict in a certain play.Chapter three is the study on the creating techniques of dramaticism of Yangzhou opera music. The structure style of Yangzhou opera music belongs to Qupai joint structure cycle, therefore, in combination with play, the thesis made concrete analysis and demonstration on the creating techniques of dramaticism of Yangzhou opera music from the aspects of Qupai joint structure, rhythm change and roles singing, singing and speaking form, Wen Wuchang music, etc. Chapter four focuses on the dramaticism of Yangzhou opera genre aria. Taking the genre aria as a typical example, this chapter attempts to analyze the dramatic feature of the Yangzhou opera aria. Specifically, from the perspective of the background such as the skill-learning and stage career of the genre founder, an analysis and demonstration on typical aria Qupai and main arias are conducted to explore the individual dramatic characteristic of the genre aria and then to detect the iconic dramatic feature of the Yangzhou opera aria. Chapter five is on the dramatic aesthetic interpretation of Yangzhou opera music. Firstly, the author investigates the cultural background of Yangzhou where Yangzhou opera music survives. Then, from the angles of folk, local, inclusiveness, and inner temperament the thesis demonstrates the dramatic aesthetic characteristics of Yangzhou opera music.更多还原