黄梅戏《徽州女人》音乐创作风格探析  

A Probe into Music Creation Style of Huangmei Opera Woman in Huizhou

作　　者：陈星源 

机构地区：[1]安庆师范大学艺术学院,安徽安庆246052

出　　处：《池州学院学报》2017年第4期110-112,共3页Journal of Chizhou University

基　　金：安徽省高校人文社会科学研究基地重点项目(SK2017A0337)

摘　　要：黄梅戏音乐作为中国非物质文化遗产的传统艺术,在20世纪50年代以前,很少有职业作曲家对其进行谱曲与创作,其音乐的唱腔方式大都以乡间的的田歌与贩腔为主;直至新中国成立后,一批专业作曲家开始加入到黄梅戏音乐的创作中来,使黄梅戏音乐的发展出现了前所未有的景象;20世纪80年代后,黄梅戏迎来了发展过程中的挑战,作曲家们纷纷对创作手法及方式做了较大的调整与改变,其中,《徽州女人》这部黄梅戏舞台剧正是期间改革的力作之一,其创作风格及作曲技法对进一步推动黄梅戏曲种的发展提供了借鉴与参考。As the traditional art of intangible cultural heritage, Huangmei opera has few professional writers to com- pose music before 1950s, its music mainly roots in rural farming songs. Until the foundation of new China, profes- sional composers join music creation of Huangmei Opera, Huangmei Opera music develops unprecedentedly. After 1980s, Huangmei Opera is confronted with challenge in the process of development, the composers adjust and change their writing techniques, Woman in Huizhou is the typical works, its style and composing skills provide the reference for the development of Huangmei Opera.

关 键 词：黄梅戏音乐 传统艺术 创作风格 作曲方法 

分 类 号：J804[艺术—戏剧戏曲]