新世纪中国歌剧旋律写作与主题  

Melody and Theme in New Century Chinese opera

作　　者：傅显舟 Fu Xianzhou

机构地区：[1]北京市艺术研究所,北京100077

出　　处：《音乐文化研究》2024年第3期37-51,M0003,共16页Music Culture Studies

基　　金：2014年国家社科基金艺术学一般项目“新世纪中国歌剧音乐剧创作研究”(项目编号:14BD047)阶段性成果。

摘　　要：新世纪中国歌剧旋律写作通常有主题设计与贯穿,注重人物情感表达、戏剧场景描绘与音乐形象打造。声乐旋律分为板腔体、歌谣体两类基本曲体结构,或二者混合使用。宣叙调的旋律写作尊重汉语声调与节奏规律,器乐旋律伴随唱腔或独立使用,担当了抒情写景、叙事与人物刻画同样的戏剧功能。不同作品的音乐表达戏剧的准确、生动、流畅、简洁程度不一,情感抒发深度与尽兴的程度有别,人物形象音乐刻画的鲜明生动程度不同,显示出戏剧音乐创作的水平与艺术表达的成就不一。总体而言成绩斐然,不足与问题依然存在。“古为今用、洋为中用、以人为本、推陈出新”依然是推动创作进步的重要原则。Modern Chinese opera compositions typically feature well-designed themes,focusing on character emotion,dramatic scenes,and the creation of musical imagery.Vocal melodies are primarily categorized as banqiangti(rhythmic and tonal form)or geyaoti(ballad form)or a mixture of them.Effective recitative adheres to the laws of Chinese tones and rhythms.Instrumental melodiescomplementvocal lines or function independently to serve lyrical,narrative and characterisation purposes.The efficacy of musical expression in conveying drama,emotion,and character varies across works,indicating diverse levels of dramatic music creation and artistic achievement.Although New Century Chinese opera has made significant strides,challenges and areas for improvement persist.The principles of “learning from the past,incorporating foreign influences,prioritizing human experience,and fostering innovation” remain crucial for continued artistic development.

关 键 词：歌剧 声乐曲 器乐曲 板腔体 歌谣体 

分 类 号：J617.2[艺术—音乐]