性别生成视角下的京韵大鼓音乐表演研究  

Gender Performativity Perspective on Jingyun Dagu Musical Performances

作　　者：陈浩捷 Chen Haojie

机构地区：[1]上海音乐学院

出　　处：《中国音乐》2025年第2期69-82,共14页Chinese Music

摘　　要：论文基于弗朗西斯卡·劳森(Francesca R.Sborgi Lawson)对京韵大鼓的性别研究成果,进一步探析性别意识是如何影响说与唱的比例,以及音乐表演如何生成不同的性别化流派和风格。从“刚柔各美”到“阴阳共存”再到“柔性斡旋”,本文采用叙事和阐释的书写方式历时地呈现数位京韵大鼓表演者的说唱实践和性别生成。在京韵大鼓表演过程中,“劲头”的概念和内涵对建构不同性别角色的身体姿态和唱腔变化起到重要作用。Building on Francesca R. Sborgi Lawson's research on gender in Jingyun Dagu, this study further investigates how gender consciousness influences the ratio of speaking to singing and how musical performance shapes diverse gender genres and styles. Through a chronological analysis of the storytelling practices and gender construction of various Jingyun Dagu performers, this paper traces the evolution of gender expression from "the beauty of masculinity and femininity" to "the coexistence of masculinity and femininity" and, ultimately, to "the negotiation of femininity." Using a narrative and interpretive framework, the study highlights the significant role of the concept and connotation of "Jin Tou" in shaping body movements and singing styles for different gender roles within Jingyun Dagu performances.

关 键 词：京韵大鼓 性别生成 说唱实践 表演姿态 流派风格 “劲头” 

分 类 号：J607[艺术—音乐]