闽南歌仔戏“悲情性”审美特征的生成机制探究  

Research on the Generative Mechanism of the"Tragic"Aesthetic Characteristics of Minnan Gezi Opera

作　　者：卓莉莉[1] ZHUO Lili(Quanzhou,Fujian 362000)

机构地区：[1]泉州幼儿师范高等专科学校,福建泉州362000

出　　处：《内蒙古艺术学院学报》2024年第2期132-136,共5页Journal of Inner Mongolia Arts University

基　　金：福建省教育科学“十四五”规划2022年度课题立项课题《校·园美育协同育人机制的构建与实践路径研究》(项目编号:FJJKGZ22-058)的阶段性研究成果;福建省教育科学“十四五”规划2023年度课题立项课题《非遗文化传承视域下儿童哲学绘本课程开发的实践研究》(项目编号:FJJKXQ23-097)的系列研究成果。

摘　　要：“悲情性”是发端于闽南、形成发展于台湾地区而后流行于闽南文化圈的歌仔戏的情感主线与审美特征。文章从音乐文化学的角度切入,研究认为作为一种社会文化现象,闽南歌仔戏“悲情性”审美特征的生成,与其所处的文化历史环境形成共生关系,也与剧本偏好悲剧性内容、音乐以“哭”当歌等因素密切相关,同时更是闽南人“以悲为美”的审“悲”心理意识特征的外化。"Sadness"is the emotional main line and aesthetic characteristics of Gezi opera,which originated in Minnan,formed and developed in Taiwan region,and then became popular in Minnan cultural circle.From the perspective of music culturology,this paper studies that as a social and cultural phenomenon,the generation of the"tragic"aesthetic characteristics of Minnan Gezi Opera forms a symbiotic relationship with its cultural and historical environment,and is closely related to the factors such as the preference for tragic content in the script and the use of"crying"as the song in the music.At the same time,it is also the externalization of the psychological consciousness characteristics of the people in Minnan who regard sorrow as beauty.

关 键 词：闽南歌仔戏 悲情性 音乐文化学 

分 类 号：G122[文化科学]