谱式与观念:粤剧音乐文化变迁透视  

Musical Notation and Concept: the Changes in the Music Culture of Cantonese Opera

作　　者：仲立斌[1] ZHONG Libin(School of Music,South China Normal University,Guangzhou,Guangdong 510006,China)

机构地区：[1]华南师范大学音乐学院,广东广州510006

出　　处：《贵州大学学报（艺术版）》2024年第4期96-106,共11页Journal of Guizhou University Art Edition

摘　　要：谱式作为音乐表征,与音乐观念、传承制度、社会文化等因素相关联。粤剧历史上先后经历了从无谱的提纲戏到工尺谱、叮板谱、简谱改造工尺谱、简谱、五线谱的谱式变迁。记谱方式从骨干谱逐渐“进化”至“科学”的记谱法,而这个过程中粤剧也经历了演剧形态从提纲戏到剧本戏,创作主体从演员到导演,培养制度从科班到学院制的变迁历程。粤剧音乐朝着定型化发展,乐谱从作为备忘的“客体”上升为主导演员舞台表演的“主体”。粤剧功能也在与社会文化的互动中一变再变。但如今,虽然“科学”的简谱被粤剧粤曲年轻一代所推崇,“老叔父们”却仍然因习得的音乐观念而体会到工尺谱的优越性。Notations as musical representations,are intertwined with musical concepts,transmission systems and societal-cultural factors.Historically,the musical notation of Cantonese opera has undergone a series of transformations with the eventual five-line notation.From its earliest form as a“backbone notation”evolved into a more“scientific”system of notation,meanwhile Cantonese opera also underwent a transformation in its performance format,for instance,it evolved from sketch plays to full-length scripts.Also,in terms of creative leadership,it shifted from actors to directors;and in the cultivation system,it transitioned from a traditional apprenticeship to a modern academy-based approach.The music of Cantonese opera has evolved towards standardization,as musical notations become central to the actors’stage performances,transcending their initial status as mere“objects”for performers to refer to.The functions of Cantonese opera have evolved in tandem with social-cultural interactions.While the simplified“science”of Cantonese opera and Peking opera is embraced by the younger generation today,“the elder uncles”continue to appreciate the superiority of Gongche notation over their acquired musical concepts.

关 键 词：粤剧音乐 谱式 观念 

分 类 号：J825[艺术—戏剧戏曲]