京剧《贵妃醉酒》唱腔研究

【作者】 唐瑭；

【导师】 徐元勇；

【作者基本信息】 南京师范大学 ， 音乐学， 2011， 硕士

【摘要】 京剧在长期的历史发展过程中,通过艺术融合积淀出自己独具特色的声腔特征与风格,也曾一度是全国戏曲品种的中心,因此京剧可以说是极具代表性的剧种(特别是在板腔体戏曲音乐中)。《贵妃醉酒》,在京剧的发展史中占据着特殊的地位,尤其是对于梅派唱腔来说,更具里程碑意义。该剧不仅展现了梅派唱腔独特的艺术魅力,也从中反映出对京剧唱腔艺术的重要影响。本文主要运用分析比较、举例论证等方法,选取京剧梅派经典剧目之一——《贵妃醉酒》唱腔为研究对象,以梅兰芳先生的唱腔为参照,对其唱腔音乐特征进行分析,又与同流派(梅派)、异流派(尚派、张派等)的代表性艺术家的唱腔特点进行比对。并试图梳理《贵妃醉酒》唱腔在时代文化发展中的运用以及创新,期以探索该剧在音乐文化中的借鉴价值以及发展前景。第一章以梅兰芳先生演绎《贵妃醉酒》的唱腔为分析对象,对该剧的唱腔设计、结构以及音乐特征的梳理与分析。第二章在第一章的研究基础上先将梅派代表艺术家和其他流派的代表艺术家的唱腔进行记谱,然后对各艺术家的唱腔特色进行分析。第三章按照时代发展的过程,在新兴音乐艺术形式的变化、发展中,对《贵妃醉酒》的具体应用作出多元分析。通过对《贵妃醉酒》唱腔的各方面分析研究,不仅总结出该剧在传统京剧发展历史过程中占有重要的地位,同时也从它随时代的变迁而展现的演变形式,看到京剧这种传统的艺术品种,要在多元文化中求得适时的拓展,不仅要继承传统的精髓,更应该时刻秉承开放和创新的思维。更多还原

【Abstract】 During its long time development, Peking Opera has accumulated its unique systematic tunes and styles through combining various types of arts, and has once been the centre of all genres of dramas in China. So it is safe to say that Peking Opera is a most typical example of Chinese traditional dramas (especially of the Banqiang-style traditional opera). The Drunken Beauty, occupies an extraordinary position in the development of Peking Opera and is of milestone significance especially to the melody of the Mei Lanfang School. This opera presents the distinctive artistic charm of the Mei Lanfang School melody and also reflects its remarkable influence on the art of Peking Opera and its melodies.Through various methods, such as making analyses and comparisons, this article selects one of the classic opera pieces of the Mei Lanfang School—the Drunken Beauty as its object of study and takes the melody of Mei Lanfang as its reference. On the analysis of the feature of Mei Lanfang’s melody, this article compares the Mei Lanfang School with other schools (the Shang Xiaoyun School and the Cheng Yanqian School, etc), and try to sort out the application and innovation of the Drunken Beauty’s melody in the process of cultural development, hoping to explore its reference value in musical culture as well as its prospects. In Chapter 1, by taking the Drunken Beauty performed by Mei Lanfang as our object, we sort out and analyze the melody designation and structures, as well as its musical features.In Chapter 2, on the basis of the research in chapter 1, we take notes of the respective melodies of some representative artists both from the Mei Lanfang School and other schools. In Chapter3, according to the development of the times as well as the change and development of the artistic form of the burgeoning music, we analyze the application of the Drunken Beauty from different perspectives.Through the comprehensive analyses and research of the Drunken Beauty, we draw the conclusion that it has been occupying a crucial position in the development of Chinese traditional Peking Opera; seeing from the transformation it has presented with the changes of the times, we also understand that not only through inheriting the pith and marrow of tradition, but also by holding an open and innovative spirit, can Peking Opera, as one of the most typical Chinese traditional artistic forms, develop and expand itself against the multicultural backdrop.更多还原