简析金湘歌剧《杨贵妃》咏叹调中的中华美学传统  

Chinese Aesthetic Tradition Reflected in the Arias of Jin Xiang's Opera Yang Guifei

作　　者：唐贤美 魏扬[1] 

机构地区：[1]华南师范大学音乐学院,广东广州510631

出　　处：《音乐探索》2016年第2期55-60,共6页Explorations in Music

基　　金：2012年国家社会科学基金艺术青年项目"音乐创作中纯五度复合和声体系研究"(12CD080)

摘　　要：金湘的歌剧创作深深根植于中华民族优秀文化的沃土之中,汲取西方传统歌剧的精髓,发扬东方音乐美学的理念,开拓出一条独特的中国歌剧创作之路。以家喻户晓的杨贵妃的故事为素材的大型歌剧《杨贵妃》由中国歌剧舞剧院排演,上演后反响热烈。研究其中咏叹调部分所散发出的"空灵、虚清、散逸、含蕴、离远"的中华美学传统有助于理解金湘的歌剧创作理念。Deep- rooted in Chinese cultural traditions,Jin Xiang＇s operas uphold the oriental aesthetic values and at the same time seek to integrate with the essence of western operas,thus striking out a new road for later Chinese opera composers. The opera Yang Guifei（ the imperial concubine Yang Yuhuan）,adapted from a household classic tale in China,was brought to the stage by China National Opera and Dance Drama Theatre and was met with general acclaims. This essay will discuss the Chinese aesthetic connotation carried in the arias of the opera——elegant simplicity,nihilistic tranquility,ethereal ease,subtle profundity,and detached aloofness——and thus throw light on Jin＇s musical concepts.

关 键 词：金湘 歌剧《杨贵妃》 中华美学传统 

分 类 号：J617.2[艺术—音乐]