我们只记“唱法”——川剧高腔曲牌的分类与认知  

We Only Remember the"Singing Method':Classification and Cognition of Sichuan Opera's High-Pitched Tunes

作　　者：郭羿努 Guo Yinu

机构地区：[1]武汉音乐学院音乐学系

出　　处：《中国音乐》2023年第6期47-60,共14页Chinese Music

基　　金：2021年度上海音乐学院博士课题《川剧高腔程式性模块结构级互动特性研究》(课题编号:DP2021001)的阶段成果。

摘　　要：文章以萧梅教授提出的“以表演者为中心”为研究视角,发现当不同的主体面对川剧高腔曲牌分类与认知问题时,表演实践与理论研究两种不同面向在深层思维上的差异。在表演实践中,艺人通过不同的表演惯习唤起“感觉”,并将碎片化的曲牌旋律感具体为一段固定且通用的“唱法”,以此作为结构曲牌、扩充剧目和丰富唱腔的基础,运用在不同的剧目、唱段和表演中。本文主要以川剧高腔曲牌分类为线索,针对演员演唱川剧高腔曲牌时所体现出的“从感觉到唱法”“以戏代腔”“以戏学腔”和“要帮才会唱”等表演惯习,以及与之相关的唱腔旋律生成机制和具体的生成结果进行分析,以发掘这种自在于民间的地方知识“本是”。Taking Professor Xiao Mei's"performer-centered"perspective as the research viewpoint,this article discovers the deep-seated cognitive differences between performance practice and theoretical research when different entities confront the classification and cognition of Sichuan Opera's high-pitched tunes.In performance practices,performers evoke"sensations"through various performing habits,transforming fragmented melodies into a standardized and universally recognized"singing method."This method serves as a foundation for structuring tunes,expanding repertoire,and enriching the vocal style,applied across different dramas,singing segments,and performances.This paper,primarily using the classification of high-pitched tunes in Sichuan Opera as a clue,analyzes the performers'habits exhibited when singing these tunes,such as"from sensation to singing method,""substitute drama for tune,""learn the tune through drama,"and"must assist to sing."The study also delves into the associated melody generation mechanisms and specific outcomes,aiming to uncover this kind of local knowledge that naturally exists among the common folks.

关 键 词：川剧高腔 曲牌 表演研究 唱腔生成 

分 类 号：J607[艺术—音乐]