论文部分内容阅读
川剧高腔拥有众多的曲牌,据目前收集整理的数目看,共计370多支。迄今为止,理论界对其音乐形态的研究,多着限于调式、主腔类别;旋律形式;结构异同等方面,即重点放在其内部差异的辩别、局部个性特征的显示上。而川剧高腔音乐整体风格方面的音乐形态学研究,尚是个空白。就方法论而言,川剧高腔音乐的研究有微观、中观、宏观三个不同的层次。微观研究主要是分析各个曲牌构成的细部特征,显示其个性;中观研究着眼于各曲牌类别的内部共性特征及类别间的差异;宏观研究则是分析寻绎出整个高腔曲牌群体的共性因素,考察其特殊性内涵,揭示其统一风格特征,后者为本文研究的主旨。本文在对大量川剧高腔曲牌作归纳、分析的基础上,提出“区域音列控制,这一概念,以为川剧高腔曲牌音乐整体风格规范的基本要素之一。兹加以论证。
Sichuan Opera High Chamber has a large number of songs, according to the current number of collected to see, a total of more than 370 support. So far, the theoretical circles have mostly limited their research on the form of music, the main cavity category, the melody form, the similarities and differences in structure, and so on, that is, the emphasis is on the identification of internal differences and the display of local individual features. However, the study of music morphology in the overall style of Sichuan opera high chamber music is still a blank. In terms of methodology, there are three different levels of research on the music of Sichuan Opera High Caves: micro, medium and macro. The micro studies mainly analyze the detail features of each song, and show their individuality; the study of middle view focuses on the internal common features and the differences among the categories; the macro study analyzes and deciphers the common factors of the entire high-pitched song group, Investigate the connotation of its particularity, to reveal its uniform style characteristics, the latter for the purpose of this study. Based on the induction and analysis of a large number of Sichuan opera high-pitched tunes, this paper puts forward the concept of “regional tone control”, which is one of the basic elements of the overall style specification of the music of high-pitched tunes in Sichuan opera.