论昆曲曲牌构成艺术特征——以《牡丹亭》为例.pdf

I中文摘要长短句体的戏曲曲牌,是我国宋、元、明、清时期戏曲表演形态的重要形式,体现着我国自古以来文乐结合的传统,它曾在唱赚、鼓子词、诸宫调、杂剧、南戏等诸多艺术形式中得到继承与发展,在明清昆曲中达到鼎盛。本文拟从昆曲名著《牡丹亭》入手,通过对南曲北曲、同名曲牌、主腔等问题的观察,初步探寻曲牌构成的艺术规律。本文共分三章。第一章从《牡丹亭》同名曲牌的曲谱分析上看曲牌间的区别与联系。指出同名曲牌,以一个乐句为单位,其文词的字数、句数、韵数、阴阳平仄等一定,旋律框架一定,曲牌的长度(小节数)一定,可通过扩板、缩板的方式以及小腔的变化使同名曲牌产生不同的变体。第二章从《牡丹亭》南曲、北曲以及南北合套的使用情况和结构布局看不同曲牌组织成一个套数所遵从的原则。指出异名曲牌的不同更多在于曲牌文词,而一个套数中的曲牌由于使用南曲或北曲中一定的特性旋律音调、结音、调式等,各曲牌从听觉上体现不出各自的特点。成套唱腔以散—慢—中—快—散的速度和板式布局,各支曲牌均来自一定的位置(引子、过曲、尾声),有其一定的宫调、笛色、板式、旋律、节奏节拍等。第三章从昆曲的“主腔”理论入手,探讨了昆曲界及音乐学界对“主腔”理论认识的不同。指出昆曲界认为的“主腔”为一曲牌之特性音调,我音乐学界前辈所认识的“主腔”属南北曲的特性音调。关键词昆曲《牡丹亭》曲牌体戏曲音乐南曲北曲“主腔” IIAbstractThis article includes three chapters. The firstchapter concentrates on both the differences and similarities of labeled pieces of the same title used in Mudan Ting. It was found that variations were made based on a single phrase to form a whole body of music pieces. The number of characters per phrase, number of phrases in a piece, rhyme patterns, the length of the whole piece, and the melodic pattern all remain the same. The differences lie in lengthening or shortening a phrase, and ornamentations on a particular pitch, to create different feelings. The second chapter studies the principles on connecting various qupai (labeled pieces) to form a suite based on the pieces, both nanqu (southern labeled pieces) and beiqu (northern labeled pieces), and their structure as found in Mudan Ting (The Peony Pavilion). It was discovered that the differences between the labeled pieces sharing the same title lie mainly in variations of the lyrics. Secondly, the labeled pieces used in the same suite can have different characteristics due to changes in melody, ending pitches, and modes. The structure of the labeled pieces in one suite is arranged according to meter type, as follows: san (free meter)–man (slow meter)–zhong (medium speed meter)–kuai (fast meter)–san (free meter). Each labeled piece is categorized as either for the introduction, main part, or ending, and has specific characteristics in