中国民族歌剧音乐创作中的板腔体结构研究

【作者】 钱庆利；

【导师】 居其宏；

【作者基本信息】 南京艺术学院 ， 音乐与舞蹈学， 2014， 博士

【摘要】 本文以板腔体结构在中国民族歌剧音乐创作中的历时性运用过程为叙述主线，对不同时期具有代表性的民族歌剧作品《白毛女》、《小二黑结婚》、《洪湖赤卫队》、《江姐》、《党的女儿》、《野火春风斗古城》等剧目中用板腔体结构写成的咏叹调进行形态学、历史学、社会学、比较学分析，尤其是通过工艺学分析，梳理出板腔体结构在中国民族歌剧咏叹调创作中的基本发展脉络，认为它经历了一个从蕴蓄、萌芽、成型到成熟、超越的历史过程。在这一过程中，几代歌剧艺术家经过不懈努力，以各自的卓识和智慧创造性地将中华民族独特的曲体语言运用于中国民族歌剧的创作实践，并通过一系列成功剧目的创演，终于找寻出一条与西方全然不同且独具中国特色的音乐戏剧性展开方式，这种独特的音乐戏剧性思维与实践不仅成就了民族歌剧这一类型的诞生，且对整个中国歌剧创作也有着极大的推动作用，其在中国民族歌剧音乐创作中的贡献已然彰明卓著。由于诸多原因所致，板腔体结构手法在中国歌剧创作中的运用曾一度被阻断，似乎渐渐淡出人们的视野，但作者坚信，它潜在的艺术生命力远未被穷尽。在文化多元的当下，只需对板腔体结构做出公允的价值判断，赋予其以新的曲体内涵与时代关照，处理好继承与创新之间的微妙关系，板腔体结构这一被人民群众审美实践早已证明、接纳并传流已久的传统曲体财富，对新世纪的中国歌剧创作仍具有重要的启示意义。更多还原

【Abstract】 In this paper, based on the diachronic application process of plate cavity structurein the creation of Chinese national opera as a main theme, an analysis of therepresentative national operas in different periods is made, such as the aria created byplate cavity structure in “The White-Haired Girl”,“The Marriage of Young Blacky”,“The Honghu Red Guards”,“Sister Jiang”,“The Daughter of the Party”,“Struggles inan Ancient City” from the perspective of morphology, history, sociology, comparativeanalysis. Particularly via technology analysis, the basic development line of platecavity structure in aria creation of national opera is sorted out, which is considered togo through a historical process from originating, forming, shaping, to maturing andperfecting.In this process, through the unremitting efforts of several generations of operaartists, the music form of Chinese characteristics is creatively applied to the Chinesefolk opera with their respective insights and wisdom. Through a series of creativeperformance of successful operas, the developing way of a musical opera withChinese characteristics is finally found out, which is completely different from that inwestern countries. This unique musical and theatrical thinking and practice, which notonly contribute to the creation of such a type as national opera, but also promote thatof the entire Chinese opera, thus play a remarkable role in the creation of Chinesenational opera.Due to many reasons, plate cavity structure is once blocked in its application inChinese opera creation, and seems to be gradually faded out of view, but the authorbelieves that its potential artistic vitality is far from being completely cultivated.Under the cultural diversity at the moment, fair judgments of the value of the platecavity structure need to be made, and a new connotation of music form and eraattention need to be endowed to handle the delicate relationship between inheritanceand innovation. Plate cavity structure, which is a traditional wealth of music form thathas long been proved, accepted, and spread by public aesthetic practice, still has asignificant implication on the creation of the Chinese opera in the new era.更多还原