【作者】 谭娟；

【导师】 曹顺庆；

【作者基本信息】 四川大学 ， 艺术学理论， 2022， 博士

【摘要】 在世界多元文化并存形势下,中外艺术学如何促进不同地方艺术的交流、对话、沟通、理解和相互阐释,以获得新的生命力,这是我们应当认真思考和研究的课题。本研究从微观上属于比较音乐学,在宏观上则属于艺术学理论。艺术学理论旨在打通各艺术门类之间壁垒,构建涵盖各艺术门类的普遍规律。各门艺术具体的理论既成为艺术学理论的基础和对象,又受到一般艺术学理论的指引。比较艺术学是艺术学理论的创新方向,是对不同国家、不同文明艺术的比较研究,包括中西艺术的平行比较与影响关系。“影响研究”是比较艺术学借鉴比较文学所运用的重要理论方法之一。变异学是比较文学“影响研究”理论的新发展,“他国化”是变异学理论的重要创新性观点。在这一逻辑层面,西方美声唱法“中国化”研究作为一种具体的音乐理论研究,同时是艺术学理论研究的内容和题中之义。西方美声唱法自20世纪初开始传入中国,面对中国声乐人的选择、接受、改造,产生了一系列“中国化”现象,最终生发出具有中国特色的声乐艺术话语体系——“中国美声唱法”(简称中国美声)。西方美声唱法在中国化的过程中,由于中西声乐艺术存在鲜明的异质性特征,因此,西方美声唱法一方面受到中国本土音乐文化的冲击和挑战,另一方面也使中国音乐文化得到创新机遇和发展机会。在跨文化音乐艺术传播交融过程中,西方美声唱法“中国化”经历了探索——碰撞——论争——融合——创新发展等过程。学界关于西方美声唱法“中国化”的研究已走过了百年历程。在倡导文明互鉴,努力建构具有中国特色的艺术话语体系的当下,笔者运用比较艺术学“影响研究”、比较文学变异学“他国化”理论与方法对西方美声唱法“中国化”进行跨文化艺术的比较研究,试图探索出新的研究路径。从美声唱法的传播、影响、接受与变异的角度,侧重研究两方面内容:一是系统梳理和总结西方美声唱法“中国化”的学术研究史,二是重点分析西方美声唱法在中国的传播与发展脉络、西方美声唱法“中国化”的过程与实践。论文力图挖掘其背后社会文化艺术交流和衍变的历史语境、文化动态和精神内涵,进而通过西方美声唱法“中国化”来认识文明互鉴的变异与创新规律,探索中国美声唱法的形成历程,构建中国声乐的理论话语,为艺术学理论研究提供新的案例。全文除绪论、结语外,主体分为六章:第一章“西方美声唱法‘中国化’的理论基础与现实依据”。本章首先说明本文研究的学理基础来自于比较文学的最新理论成果,即比较文学“影响研究”、变异学和变异学的重要理论创新——“他国化”理论与方法。比较文学研究的最新理论成果可以为比较艺术学借鉴并作为自己具有创新性的研究方法。其次介绍了西方美声唱法“中国化”的内涵,意在说明任何外来文化(异质艺术)进入“他国”都必须“本土化”(他国化)。最后还分析了西方美声唱法在中国传播的历史背景、社会文化语境,说明中国对西方美声唱法的接受是历史的必然。从中西声乐文化的历史发展和已有基础、声乐文化的价值来分析西方美声唱法“中国化”的可能性和必要性,回答了西方美声唱法“为什么”要“中国化”的问题。西方美声唱法“中国化”是艺术学理论研究的典型案例。艺术学理论在跨文化研究中大有可为。第二章“西方美声唱法‘中国化’的历程与研究之回顾”。本章考察西方美声唱法在中国传播、影响、接受与研究历程,进而总结各阶段的基本特征和历史脉络。围绕技法研究、学科理论研究、表演艺术研究、歌剧及艺术歌曲审美(演唱)研究、教育教学研究五个方面,对有关西方美声唱法在中国的理论研究的代表性成果进行分门别类的系统梳理和全面评述,从而深度发掘西方美声唱法在中国的演变进程及内涵属性,在整体上把握西方美声唱法“中国化”的基本脉络。西方美声唱法“中国化”既是演唱技术技巧的中国化,更是对中西美学精神、中国传统美学精神与现代美学精神的体悟与对话。第三章“西方美声唱法‘中国化’的论争及其认识”。本章考察当时中国声乐界对西方声乐文化的态度和对中国声乐发展路径的思考。中国声乐界围绕“唱法”问题展开了激烈的争论,争论主要表现为“洋唱法”(洋嗓子论)“土唱法”(土嗓子论)和“中西结合唱法”(中西结合论);本章重点分析了“洋嗓子论”“土嗓子论”“中西结合论”的主要观点、代表人物及其产生的背景、原因、发展脉络、影响交融;分析西方美声唱法“中国化”需要秉持的理念、遵循的原则、处理的关系等,从而回答了西方美声唱法“该不该”中国化以及“怎样”中国化的问题。第四章“西方美声唱法‘中国化’的演唱实践”。本章对西方美声唱法中国化实践进行实证考察,分别分析了大量谱例、歌唱家在中国歌剧、艺术歌曲、地方民歌的演唱实践,同时阐述了西方美声唱法“中国化”的前提条件、艺术标准。本章从演唱实践的角度回答了西方美声唱法“如何”中国化的问题。第五章“从比较艺术学影响变异看西方美声唱法的‘中国化’”。本章从西方美声唱法在中国的影响与接受、融合与创新以及西方美声唱法“中国化”变异等两个方面进行论述。对中西声乐演唱艺术进行比较,寻找其相同与不同点,对一批歌唱家采用中西结合唱法的演唱和中国特色美声唱法的艺术观念、价值取向的形成进行了分析。西方美声唱法“中国化”的过程是一个动态、发展的过程,从而形成了美声唱法共性明显、中国韵味浓烈和中国特色鲜明的美声唱法——中国美声唱法。第六章“对中国美声唱法的评价与思考”。本章阐述了西方美声唱法传入中国,在经历影响、排斥、接受和借鉴相融后,逐步同中国声乐文化相结合,形成一种更深层次的变异,生发出具有中国特色的美声唱法。从西方美声唱法“中国化”的学术研究成果出发,探讨了中国美声唱法是中西声乐艺术相互阐释、美美与共的结晶,彰显出了科学性、中国性、包容性、国际性等特征,并对中国美声唱法未来发展提出了见解。结语:艺术学理论与变异学理论在跨文化艺术研究中的互通性及艺术学理论的创新性,探寻了艺术学理论跨文化研究的新路径和新方法。总之,本论文运用比较艺术学“影响研究”、比较文学变异学“他国化”理论,考察分析了西方美声唱法在中国逐步发生的“本土化”变迁是本土艺术在时空上借鉴吸收或转化异质艺术的必然趋势。西方美声唱法经过变异,创造性地开发了中国声乐艺术的东方魅力。中国美声唱法是中国本土的“美声”(中国传统民族唱法)与西方美声(西方美声唱法)的融合与创新发展形成的,兼备美妙的声音与民族神韵。中国美声是中西声乐艺术互鉴、美美与共、创新发展形成的一种新的艺术形式,是地道的中国人自己的创新唱法。这种变异主要体现在西方美声唱法本身的艺术话语规则已经从根本上被中国声乐艺术所同化,形成了新的学术话语规则和言说方式,完全与中国声乐艺术融为一体。这既是当时特定社会背景所致,反过来又影响了这一历史进程。本论文旨在为继续深入推进文明互鉴艺术理论研究与创新实践贡献一份自己的力量。更多还原

【Abstract】 With the coexistence of multiple cultures in the world,how Chinese and foreign artistry can promote the exchange,dialogue,communication,understanding and mutual interpretation of art in different places to gain new vitality is a topic that we should seriously consider and study.The research in this paper belongs to comparative musicology from a micro perspective,and belongs to artistry from a macro perspective.The purpose of art theory is to break down the barriers between various art categories and build a general rule covering all art categories.The specific theories of various art forms not only become the basis and object of art theories,but also are guided by general art theories.Comparative artistry is an innovative direction of art theory.It is a comparative study of art from different countries and civilizations,including the parallel comparison and influence of Chinese and Western art.‘Influence study’is one of the important artistic theoretical methods used in comparative artistry,which draws on the theory of comparative literature.Variation is a new development of the theory of‘influence study’in comparative literature,and‘foreignization’is an important innovative viewpoint of the theory of variation.At this logical level,the theoretical study of the‘Chinization’of Western Bel Canto is of course the content and meaning of the theoretical study of art.Western bel canto has entered China since the beginning of the 20th century.It has lost the cultural soil on which it depends.Faced with the choice,acceptance and transformation of Chinese vocalists,a series of‘foreignization’phenomena have emerged,and finally vocal music discourse system,‘Chinese Bel Canto’,with Chinese characteristics has been produced.In the process of Chinization of Western bel canto,due to the distinct heterogeneity of Chinese and Western vocal art,Western bel canto is impacted and challenged by Chinese local music culture on the one hand,and on the other hand,it has provided opportunities for innovation and development of Chinese music culture.In the process of cross-cultural music dissemination and integration,the‘Chinization’of Western bel canto has gone through the process of exploration,collision,debate,integration and innovative development.The academic research on the‘Chinization’of western bel canto has gone through a century.While advocating mutual learning among civilizations and striving to build an art discourse system with Chinese characteristics,the author uses the theories and methods of‘influence study’in comparative artistry and‘foreignization’in comparative literature variation to study the‘Chinization’of western bel canto.And try to explore new research paths.From the perspective of the dissemination,influence,acceptance and variation of bel canto,two aspects are emphasized:The first is to systematically sort out and summarize the academic history of the‘Chinization’of Western bel canto;the second is to focus on the analysis of the spread and development of Western bel canto in China,the process and practice of the‘Chinization’of Western bel canto.This paper tries to dig out the historical context,cultural dynamics and spiritual connotation behind the social and cultural exchanges and evolution.Then through the‘Chinization’of western bel canto,we can understand the law of variation and innovation of mutual learning among civilizations,explore the formation process of Chinese bel canto,construct the theoretical discourse of Chinese vocal music,and provide a new case for the theoretical study of artistry.In addition to the introduction and conclusion,the main content of the full text is divided into six chapters:The first chapter is titled‘The Theoretical Basis and Realistic Basis of Western Bel Canto“Chinization”’.This chapter firstly explains that the theoretical basis of this study comes from the latest theoretical achievements of comparative literature,which is the‘influence study’of comparative literature,and the important theoretical innovation of variation studies—the theory and method of‘foreignization’.The latest theoretical achievement of comparative literature research can be used for reference by comparative artistry as its own innovative research method.Secondly,it introduces the connotation of‘Chinization’of Western Bel Canto,intending to explain that any foreign culture(heterogeneous art)entering‘other countries’must be‘localized’(foreignization).Finally,it analyzes the historical background and social and cultural context of the spread of western bel canto in China,indicating that China’s acceptance of western bel canto is a historical necessity.From the historical development of Chinese and Western vocal music culture,the existing foundation and the value of vocal music culture,we can see the possibility and necessity of‘Chinization’of western bel canto,and answer the question of‘why does the western bel canto need to be sinicized’.The‘Chinization’of Western Bel Canto is a typical case of theoretical research in artistry.Art theory has a lot to do in cross-cultural research.The second chapter is titled‘The Review of the History and Research on the“Chinization”’.This chapter examines the spread,influence,acceptance and research of Western Bel Canto in China,and then summarizes the basic characteristics and historical context of each stage.Focusing on five aspects:technique research,subject theoretical research,performing arts research,opera and art song aesthetic(singing)research,and education and teaching research,we systematically sort out and comprehensively comment and summarize the representative achievements of the theoretical research on Western bel canto in China,so as to deeply explore the evolution process and connotation attributes of Western bel canto in China and grasp the basic context of the‘Chinization’of Western Bel Canto.The‘Chinization’of western bel canto is not only the Chinization of singing techniques,but also the understanding and dialogue of the spirit of Western aesthetics,traditional Chinese aesthetics and modern aesthetics.The third chapter is titled‘Controversy and Recognition on the“Chinization”of Bel Canto’.This chapter examines the attitudes of the Chinese vocal music industry towards Western vocal music culture and its thoughts on the development path of Chinese vocal music.The Chinese vocal music industry has launched a fierce debate on the issue of"singing method",which is mainly manifested in the following aspects:‘Foreign Singing Method’(Foreign Voice Theory),‘Native Singing Method’(Native Voice Theory),and‘Combination of Native and Foreign Singing’(Combination Theory of Native and Foreign Voice).It focuses on the analysis of the main viewpoints and representatives of the‘Foreign Voice Theory’,‘Native Voice Theory’,and‘Combination Theory of Native and Foreign Voice’,and their background,reasons,development context,influence and blending,as well as the concepts,principles and treatments that the‘Chinization’of Western Bel Canto needs to uphold.It answers the question of‘should Western Bel Canto be sinicized’and‘how to be sinicized’.The fourth chapter is titled‘The Practice of“Chinization”of Western Bel Canto’.This chapter conducts an empirical investigation on the practice of Chinese bel canto singing,and analyzes a large number of musical examples,singers’singing practices in Chinese operas,art songs,and local folk songs.At the same time,it expounds the preconditions and artistic standards of the‘Chinization’of Western Bel Canto.This chapter answers the question of‘how to sinicize western bel canto’from a practical point of view.The fifth chapter is titled‘Viewing the“Chinization”of Western Bel Canto from the Perspective of Comparative Artistry’s Influence Variation’.This chapter mainly discusses the influence and acceptance,fusion,and innovation of Western Bel Canto in China and the‘Chinization’of Western Bel Canto.It compares the singing arts of Chinese and Western vocal music,finds their similarities and differences,analyzes Chinese-Western combination singing and the formation of artistic concept and value orientation of Bel Canto with Chinese characteristics.The process of‘Chinization’of western bel canto is a dynamic and developing process,thus forming a bel canto with obvious commonality,strong Chinese charm and distinctive Chinese characteristics-Chinese bel canto.The sixth chapter is titled‘Evaluation and Reflection on Chinese Bel Canto’.This chapter expounds the introduction of western bel canto to China,and after experiencing influence,rejection,acceptance and integration,it gradually combines with Chinese vocal music culture to form a deeper variation,giving birth to bel canto with Chinese characteristics.The formation of Chinese bel canto has had an important influence and promotion on the prosperity and development of Chinese vocal art.Chinese bel canto has been accepted by the Chinese and foreign people,and has begun to spread to the world.This chapter starts from the academic research results of the‘Chinization’of Western bel canto,and discusses that Chinese bel canto is the crystallization of the mutual interpretation and integration of Chinese and Western vocal arts.It highlights the characteristics of scientificity,Chineseness,inclusiveness,and internationality,and provides insights into the future development of Chinese bel canto.Conclusion:The interoperability and innovation of artistry and variation theory in cross-cultural art research explores new paths and new methods for cross-cultural research of art theory.All in all,this paper uses the theories of‘influence study’in comparative artistry and‘foreignization’in comparative literature variation to investigate and analyze that the gradual‘localization’of western bel canto in China is an inevitable trend for local art to learn from,absorb or transform heterogeneous art.The western bel canto has been mutated and creatively developed the oriental charm of Chinese vocal art.Chinese bel canto is formed by the fusion and innovative development of China’s native‘bel canto’(traditional Chinese national singing method)and western bel canto.It is a new art form formed by mutual learning and innovative development of Chinese and Western vocal arts.It is an innovative singing method by the authentic Chinese.This variation is mainly reflected in the fact that the artistic discourse rules of Western Bel Canto have been fundamentally assimilated by Chinese vocal music art,forming new academic discourse rules,which are completely integrated with Chinese vocal music art.This is due to the specific social background,which in turn affects this historical process.The purpose of this paper is to contribute to the further advancement of the theoretical research and innovative practice of the art of mutual learning among civilizations.更多还原