黄梅戏舞台剧《徽州女人》音乐创新的美学分析  

Aesthetic Analysis on Innovation of Huangmei Opera "Huizhou Woman"

作　　者：黄梅[1] 

机构地区：[1]皖西学院艺术学院,安徽六安237012

出　　处：《皖西学院学报》2012年第4期129-132,共4页Journal of West Anhui University

基　　金：安徽省高等学校省级优秀青年人才基金项目(2010SQRW144)

摘　　要：黄梅戏《徽州女人》以其鲜明的特色占据了戏曲舞台的一方天地,它在沿袭黄梅戏基本美学特征的同时,又将其进行了变化与拓展,即"柔"中带"刚"、"俗"中见"雅"、"嗲"而不"腻"、"杂"而可"融",这种美学上的创新使该戏取得了空前的成功,但也暴露出一些问题,即传统唱段较少、过于依赖舞美等非音乐因素等。该戏的成功与不足为中国戏曲音乐改革起到一定的借鉴意义。Huangmei opera ＂Huizhou Woman＂ takes an important position in opera because of its distinct characteristics. It fol- lowed the basic aesthetic features of Huangmei opera, while it had some changes and expansions. Its gentleness with firmness, vulgarity with elegance, affected sweetness without being cloying, vast with compromise, these esthetic innovations are success- ful, however, it also exposes some problems, such as reduced traditional aria, and more reliance on non-musical factors. This opera＇s success and insufficiency give learning to the reform of Chinese opera music.

关 键 词：《徽州女人》 黄梅戏 音乐美学 

分 类 号：J605[艺术—音乐]