以史鉴今:对京剧“样板戏”音乐创作之“失”的若干思考  

Learning from the History:Thinking over the Failures of Music in Model Peking Opera

作　　者：王秀庭[1,2] 

机构地区：[1]临沂大学音乐学院,山东临沂276000 [2]中国文联中国文艺评论基地(临沂大学),山东临沂276000

出　　处：《艺术百家》2016年第2期96-103,共8页Hundred Schools In Arts

基　　金：2015年度国家社科基金艺术学一般项目"京剧器乐曲牌研究"(项目编号:15BB024)阶段性成果之一

摘　　要：京剧"样板戏"在艺术上最为突出的成就是音乐方面,有许多成功之处值得肯定,这些好的方面可以作为今天的借鉴。同时也存在一些失当的地方,而这些失败的弊端同样可以作为今后的教训来吸取。文章主要从其"三突出"阴影笼罩下的音乐模式化,遏制传统京剧音乐能量发挥的"革命派",大型乐队导致伴奏的单一化三个方面进行论述。不论得与失,样板戏音乐对我国戏曲艺术的发展都将起到积极的推动作用。The most prominent achievement of model opera is its music whose success should be confirmed and re- ferred to. However, there exists some improperness from which we can learn something. In this paper, I mainly dis- cuss its stereotyped music overwhelmed by ＂ three highlights＂ , and revolutionary school who restrains the development of traditional Peking opera music, and simplified accompaniment caused by grand brand. No matter of gain or loss, model opera music has exerted a positive promotion to the advancement of our national opera art.

关 键 词：戏曲艺术 戏曲音乐 京剧 样板戏 京剧音乐 伴奏 音乐模式化 

分 类 号：J60[艺术—音乐]