【作者】 仲立斌；

【导师】 王耀华；

【作者基本信息】 福建师范大学 ， 音乐学， 2009， 博士

【摘要】 本文选取京剧梅派唱腔艺术为研究对象,对其历史沿革、唱腔特点、传承方式进行较为系统的研究,并试图以此个案探索中国戏曲艺术流派的兴衰发展规律,从而对如何抢救当今戏曲艺术流派的衰落现状提供理论借鉴。第一章是对梅兰芳唱腔艺术沿革历程的梳理与分析。在大量分析梅兰芳唱腔的基础上,将梅兰芳唱腔艺术的沿革历程划分为继承期(1914年以前)、新腔初创期(1914年-1924年)、突破期(1925年-1930年)和回归期(1931年-1961年)四个时期。第二章是对梅派唱腔音乐的分析。本章基于中国传统音乐结构层次理论,对梅派【西皮】、【二黄】、【反二黄】多种板式唱腔的腔音、腔音列、腔韵三个结构层次上的特点进行分析和总结,必要时选取程派唱腔进行分析和比较。第三章以第二章的研究为基础,对梅派唱腔的艺术特点进行总结。首先,梅派唱腔具有独特的“中和”音乐美学观;其次,梅派唱腔体现出独特的旋律形态特征,其中包含四种特性旋法;再次,梅派唱腔简洁朴实的伴奏特点,与唱腔形成不可分割的整体;最后,梅派唱腔具有优雅、大方、明亮的艺术风格。第四章是对梅兰芳唱腔艺术传承状况的研究,将梅兰芳唱腔艺术的传承总结为原样传承、变化传承、因素传承三种方式。三种传承方式都是被动的继承,而梅兰芳唱腔艺术本身在传承中并没有得到发展。另外,在原样传承中也只继承下来了数量有限的梅派代表剧目。由京剧梅派唱腔艺术的兴衰得出启示,中国传统戏曲艺术流派是以演员为中心的综合性—元化戏曲创作机制的产物,而当今导演制下创作主体的多元分化与传统戏曲艺术流派生成机制相违背,这在很大程度上阻碍了当今戏曲艺术流派的发展。为了挽救当今戏曲艺术流派衰落的局面,必须继承以演员或其他艺术家为中心的综合性—元化的戏曲创作运行机制。更多还原

【Abstract】 The paper seclected the aria of Mei School of Beijing Opera as the subject, and the research foucsed on the history, the characteristics, and the succession of the aria art. The research aims at uncovering the law of the prosperity of the Chinese opera School and the law of decline of the Chinese opera School through the case study. The research also try to offer a referential perspective to revitalize the run-down of the Chinese opera School.The content of the Chapter One is about the aria’s history of the Mei School of Beijing opera. On the basis of analyzing the large quantity aria of Mei Ian-fang, divide the Mei’s aria history into four stages. The fist is the inheritage stage (before 1914). The second is the preliminary new aria composing stage (between 1914 to 1924). The third is the stage of great revolution of aria (between 1925-1930). The four is the returning to the traditional aria stage (between 1931 -1961).The Chapter Two is a research on the Mei school’s aria. Based on the level structure theory of Chinese traditional music, the writer analyzed the characteristics of the Qiangyin, Qiangyinlie and Qiangyun of Mei Ian-fang’s Xipi, Erhuang and Fanerhuang aria. When it was necessary , the aria of the Cheng School was studied in order to draw compares.The Chapter Three is the study of the characteristics of Mei school’s aria based on the chapter two. Firstly, Mei School’s aria has the unique harmony aesthetic; Secondly, The Mei School aria has the unique morphology, and this conlude the four special tune; Thirdly, the aria’s company has its unique simple style, and the aria and the company become a undivided whole. Lastly, Mei school’s aria has the elegance, generous and bright style.The Chapter Four is a research on succession of Mei Ian-fang’s aria. There are three succession forms. The first is to keep the Mei Ian-fang’s aria unchanged. The second form is some ingredient of aria was changed. The third is the ingredient of aria was used by some other music forms. In all the three forms, Mei Ian-fang’s aria was inherited passively, and Mei Ian-fang’s aria has not been developed. With the first succession form, there are only small part of Mei Ian-fang’s aria has been inherited.From the research we got a inspiration. It is that Chinese Opera School is the outcome of the synthetic and unified music creation form. But today’s multi-originator run counter to the unified music creation, and this is an obstacle to Chinese opera school’s development. In order to retrieve the decreasing fate of Chinese opera shool, we must carry on the mechanism of unified music creation.更多还原