【作者】 周丹；

【导师】 路应昆；

【作者基本信息】 中国传媒大学 ， 音乐学， 2009， 硕士

【摘要】 昆曲是文人曲,在历史上一直存在着“唱曲”与“唱戏”的分化现象。传统上把“唱而不演”谓之“清”,即清唱,把舞台上的戏曲演唱称为剧唱。昆曲清唱发展到后期以清唱剧曲为主,偶尔也吟唱散曲等文学作品。然而,自昆曲清唱产生之初,文人曲家就把它与剧唱严格区分开来,昆曲清唱不是昆剧的附庸。从古典戏曲论著中可以看出,前人把清唱的地位抬得比剧唱高。一方面是因为清唱的主要参与者是文人士大夫,其社会地位就比戏曲艺人高得多;另一方面则是艺人的水化水平很低,唱曲很难谨守格律,文人对此多持鄙夷态度。因此,前人一股认为清唱吐字准确,剧唱讹误较多;清唱严格遵守格律,剧唱喜欢随意添加花腔;清唱节奏缓慢,悠游闲雅,剧唱紧凑热闹;清唱高雅,剧唱“媚俗”。笔者在本文之中除了梳理古典戏曲论著中有关昆曲清唱与剧唱的理论外,还选取了近现代多位著名曲家和演员的录音,运用汉语语音学、音乐学、戏剧戏曲学等学科的研究方法对这些录音样本进行了分析对比。从比较的结果来看,昆曲清唱与剧唱在发音吐字方面都难以做到完全“正确”,只是二者参照的标准不同。清唱的字音以韵书为标准,剧唱的发音吐字则受师承的影响更为直接,而无论是清唱还是剧唱的发音吐字都与唱曲者的背景、经历以及对语言的价值取向有关。昆曲清唱与剧唱在唱腔旋律上的差别,主要是对四声腔格的处理以及唱曲口法的运用不同。在演唱速度方面,清唱快慢如一,剧唱的速度依剧情而定。清唱相对于剧唱来说不注重或不强调音乐表情的处理。昆曲清唱与剧唱在“气质”等方面也存在一定的差别。此外,由于唱曲者中存在着师承关系的交叉以及一人兼跨两界等情况,昆曲清唱与剧唱并不完全对立,二者之间常互相影响或出现相融合的现象。更多还原

【Abstract】 Kunqu Opera,qu of literati,can be historically divided into two kinds:singing arias without staging and singing arias with staging.The former refers to merely singing the qu of Kunqu opera while the latter is talking about playing the Kunqu drama.At the later period of its development,singing Kunqu without staging is mainly singing the songs concluded in the Kunqu drama,while sometimes it does refer to intonating the verses popular in the Yuan Ming and Qing dynasties.However, since singing Kunqu without staging has come into being,Kunqu amateurs has made it clear that it’s fundamentally different from singing Kunqu with staging and the former is not an appendage of the latter.Singing Kunqu without staging is historically considered more important than acting Kunqu.There are two main reasons.On the first hand,the Kunqu amateurs are mainly ancient literates and politicians,who hold a much higher social status than those drama actors.On the other hand,since the ancient actors are not well educated, they cannot strictly obey the rules and forms of classical composition,making them be contemned by those literates.Therefore,singing Kunqu without staging is considered as pronunciation-clear while singing Kunqu with staging with more pronunciationerrors; singing Kunqu without staging is full of rules and forms and acting Kunqu not; singing Kunqu without staging is slow,quiet and elegant while singing Kunqu with staging compact,noisy and "vulgar".In this essay,the author not only gives a clear introduction of the theories of singing Kunqu without staging and singing Kunqu with staging,but also makes a Chinese phonetic,musicological and drama-and-opera-studies analysis and comparison of the records of famous Kunqu amateurs and actors in the neoteric and modern times.By analyzing and comparing,we may find that it’s impossible for both singing Kunqu without staging and singing Kunqu with staging to be completely correct in pronunciation.The only difference lies on the standards they refer to respectively.Although they are equally affected by their living background,life experience and value-system,the Kunqu amateurs considers rhyme book as major criterion while Kunqu actors mainly learning pronunciation form their tutors.As for the aria and rhythm,singing Kunqu without staging and singing Kunqu with staging are deferent in treating the qiang ge of four tones and choosing the kou fa of singing. Becides,singing Kunqu without staging holds the same speed with less facial and body expression,while singing Kunqu with staging speed is changeable according to different dramas.They are also diverged in "temperament".Because these factors that the cross-cutting relationships between the teachers and one person across the two sectors exist in Kunqu amateurs and actors,singing Kunqu without staging and singing Kunqu with staging are not entirely antagonistic,they often affect each other or with the phenomenon of fusion..更多还原