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许多学术研究直指,中国传统戏曲的音乐结构与语言声调的关系具彼此呼应的一致性,曲调结构的研究通常被解释为一套由上下对句所构成的组合,忽略了声腔表演中生出的其它多元复杂的构成要素。就算这些多元要素被察觉,学者通常是持着比较的观点,而非重新检视音乐与语言的理论。在这篇文章中我所提出的看法是:中国戏曲中的音乐不是附属于语言之下的,其两者的关系既不是建构在一个自动的响应体系中,也不是上下句词曲结构的单纯反射。就算我们研究一个乐种,其语言地位无庸置疑地扮演着十分重要的角色,但其音乐声音的组构思考有时会挑战一首平仄押韵完美的曲词;而表演者个人的风格有时也会僭越咬字发音的规则,并且可能发展成其个人的惯性音乐演唱风格,超越了曲词创作中的平仄及对句理论。我以京剧演员周信芳(1895-1975)和其同侪的录音资料及相关的译谱出版品,作为分析研究的基本资料。在此研究中我们可以检视早期京剧表演者的“实践意识”,并以此对比于学术界的“理论意识”,探讨两者间未曾被讨论过的面向,民族音乐学者或许可以透过该比较来重省音乐实践与音乐价值,进而对传统中国戏曲的改变过程获得更深一层的认识。
Many academic studies point out that the relationship between musical structure and language tone in traditional Chinese operas is echoed to each other. The study of tonal structure is usually interpreted as a combination of upper and lower sentences, neglecting Other multiple and complex components. Even though these multiple elements are perceived, scholars often hold comparative perspectives rather than re-examine the theory of music and language. In this article, I have put forward the opinion that the music in Chinese opera is not attached to the language, and the relationship between the two is neither constructed in an automatic response system nor the simple reflection . Even if we study a musical genre, its linguistic status undoubtedly plays a very important role, but the compositional thinking of musical sounds sometimes challenges a perfect tune of Ping-chek; and the individual style of a performer may sometimes overstep The rules of articulating pronunciation, and may develop into its own style of inertia music singing, beyond the level of compilation and the theory of the sentence. I use Beijing opera performer Zhou Xinfang (1895-1975) and her peers’ audio recordings and related translation publications as a source of analytical data. In this study, we can examine the “practical consciousness” of early Beijing opera performers and compare them with the “theoretical consciousness” of the academic circles to explore whether the oriented and ethnic music scholars that have not been discussed between the two may pass the comparison To re-read the practice of music and the value of music, and thus get a deeper understanding of the changing process of traditional Chinese opera.