解构主义视域下漫瀚剧唱腔音乐的建构与分析  

Construction and Analysis of the Singing Music of Manhan Opera in the Perspective of Deconstructivism

作　　者：李建军 Li Jianjun(the museum of Minzu University of China,Beijing,100081)

机构地区：[1]中央民族大学音乐学院音乐学系,北京100081

出　　处：《民族艺术研究》2020年第4期118-129,共12页Ethnic Art Studies

摘　　要：漫瀚剧是中国迄今最后一个被政府正式命名的戏曲新剧种,其唱腔音乐的建构受到二人台以及内蒙古西部其他民间音乐形式的深刻影响。宏观来看漫瀚剧唱腔音乐的建构过程是通过建立一种文化秩序来完成的,但在发展中这种秩序又被不断打破,这一发展轨迹在其他新剧种中具有普适性。具有解构主义特点的唱腔发展趋向为漫瀚剧作曲家的创作以及剧目音乐的建设,提供了更多的空间。另外,随着歌剧、音乐剧等戏剧形式的蓬勃发展,加之剧种自身生存发展的需要,携带强烈文化一致性的趋同发展模式开始影响戏曲新剧种的发展。Manhan Opera is the last traditional Chinese opera that was named by Chinese government. Construction of the singing music is deeply influenced by Er’ren Tai and other folk music in the west of Inner Mongolia. In a broad sense,the construction of the singing music of Manhan Opera is established through a cultural order,which,however,is continuously broken in the development,so that this trajectory is also seen in other new operas. The deconstructivist development of the singing tune entails more space for the creation of Manhan Opera and the repertoire of music. In addition,along with the prosperous development of opera and musical,as well as the need for survival space,the development mode that cultures develop in a homogenous way begins to influence the development of new operas.

关 键 词：漫瀚剧 解构主义 戏曲唱腔 新剧种 二人台 

分 类 号：J607[艺术—音乐]