金湘歌剧《热瓦普恋歌》咏叙调的旋律发展手法  

Chanting Melodic Development Techniques in Jin Xiang's Opera "Gevap Sonat"

作　　者：马琳[1] 

机构地区：[1]华南师范大学音乐学院,广东广州510006

出　　处：《吉林艺术学院学报》2017年第4期4-15,共12页Journal of Jilin University of Arts

摘　　要：咏叙调是介于咏叹调和宣叙调之间的一种歌唱形式。金湘在歌剧《热瓦普恋歌》中安排了八首咏叙调,运用了多种旋律发展手法,最具特色的是以同音反复、级进、"锯齿"型、环绕型、离心式、倒影式和大跳进行为主的旋律发展手法。咏叙调还体现出东方美学中"空"、"虚"、"散"、"含"、"离"的观念,成为了《热瓦普恋歌》咏叙调创作的特色。The chant is a form of singing between the aria and the narrative. Jin Xiang arranged eight chants in the opera ＂Gevap Sonat＂ and used a variety of melodic development techniques. The most distinctive features in the melodic development technique are characterized by repeated,progressive,＂serrated＂,＂zigzag＂,＂centrifugal＂, ＂inverted＂ and ＂big jump＂. The concepts of Oriental aesthetics ＂emptiness＂, ＂illusion＂, ＂casual＂, ＂containing＂ and ＂leaving＂ are also reflected in the chants, and these concepts became the chanting creation features of the opera ＂ Gevap Sonat＂.

关 键 词：金湘 热瓦普恋歌 咏叙调 旋律 东方美学 

分 类 号：J832[艺术—戏剧戏曲]