【作者】 刘妍；

【导师】 刘世虎；

【作者基本信息】 辽宁师范大学 ， 音乐与舞蹈学， 2021， 硕士

【摘要】 在中华民族的文化底色中,合唱与戏曲属于同根同源的艺术,合唱在借鉴、融合戏曲艺术特征的过程中,不仅能够促进了戏曲艺术的传承与创新,也使合唱艺术风格得到了发展。中国合唱艺术作为“西学东渐”的产物,经过中国传统文化的熏陶与渗透,发生了从“西方化”到“民族化”的演变。中国戏曲作为以五大戏种——京剧、越剧、黄梅戏、评剧、豫剧为核心的戏曲艺术体系,其中京剧艺术不仅凝聚了中华传统美学精髓和历史文化底蕴,还象征着中国传统文化的灵魂,成为具有极大影响力的戏曲代表,因行当全面,表演成熟,而被称为我国“国粹”。当今时代的快速发展,人民文化审美不断更迭,京剧艺术渐渐走向“边缘化”,如何用符合时代性的方式唤醒、发展京剧这一民族优秀传统文化成为新时代的热点话题。笔者经过文献分析梳理发现,现阶段融合京剧风格的合唱作品有很多,有的是选取京剧部分唱段,融入京剧唱腔和表现特征等进行改编;有的是利用合唱的形式来表现京剧文化的魅力,并融入京剧表演特色等,但相关学术研究还较少,且研究方向集中在戏曲唱腔与合唱艺术比较以及对于某个戏曲风格合唱作品的作品分析上。在众多剧种中笔者选取我国第一国剧的京剧作为研究对象,一方面,中国京剧艺术是吸取了中国民间音乐、说唱、歌舞及其他戏曲的精华,并在不断的实践磨炼中成为了戏曲音乐板腔体系中流传最为广泛的戏曲音乐之一,对合唱艺术中国化的道路研究具有一定的价值的。同时,以合唱的形式进行京剧创编,对于京剧艺术也是一种创新。另一方面,京剧的唱腔调式是音乐程式化的体现,主要是由西皮与二黄腔来完成的,是中国传统音乐的“个性”彰显,也是中国合唱艺术参考、借鉴的价值所在。京剧元素在合唱中的应用研究,不仅是中国传统文化与西方艺术的结合,也是传统文化传承与创新的体现,不仅能够促进、解决京剧发展瓶颈,又能开拓中国合唱艺术多元化的发展道路。因此笔者以京剧元素在合唱作品中的应用作为方向进行研究。本文分为五章,第一章梳理中国合唱艺术和京剧艺术的由来、发展脉络以及对京剧元素的定义作了相关概述。第二章对京剧与合唱两种艺术在创作和表演方面存在的异与同进行分析,以阐述二者融合的可能性。第三章以现收集到的合唱作品为依据,分类分析京剧元素在作品创作、表演方面的融合方式。第四章以京剧改革为界限,分析《海岛冰轮》与《迎来春色换人间》两首京剧风格作品是如何将京剧元素融于合唱中。最后一章对于京剧元素融合到中国合唱作品中现状、融合的价值、意义进行了分析,最后提出对于这类作品的展望。更多还原

【Abstract】 In the cultural background of the Chinese nation,chorus and opera belong to the same origin art.In the process of learning from and integrating the artistic characteristics of opera,chorus can not only promote the inheritance and innovation of opera art,but also develop the artistic style of chorus.Chinese chorus art,as a product of "Western learning spreading to the East",has undergone an evolution from "Westernization" to "nationalization" through the edification and infiltration of Chinese traditional culture.Chinese opera is an art system of opera with five kinds of opera as its core: Beijing opera,Yue opera,Huangmei Opera,Pingju opera and Henan opera.The art of Beijing opera not only embodies the essence of traditional Chinese aesthetics and historical and cultural heritage,but also symbolizes the soul of traditional Chinese culture.It has become a representative of opera with great influence,And is known as China’s "quintessence.".With the rapid development of the times,the people’s cultural aesthetics is constantly changing,and the art of Peking Opera is gradually moving towards "Marginalization".How to wake up and develop the excellent traditional culture of Peking Opera in a way consistent with the times has become a hot topic in the new era.Through literature analysis,the author finds that there are many chorus works with Peking opera style at this stage,some of which are adapted by selecting part of the aria of Peking Opera and integrating the aria and performance characteristics of Peking Opera;Some use the form of chorus to express the charm of Beijing opera culture,and integrate into the performance characteristics of Beijing opera,but the related academic research is still less,and the research direction focuses on the comparison of opera singing and chorus art,as well as the analysis of a certain opera style chorus works.In many plays,the author selects Peking Opera as the research object of China’s first national drama.On the one hand,China’s Peking opera art has absorbed the essence of Chinese folk music,rap,singing and dancing and other operas,and has been one of the most popular opera music in the traditional Chinese opera system.It is of certain value to the research on the road of Chinese chorus art.At the same time,the creation of Beijing Opera in the form of chorus is also an innovation for the art of Beijing opera.On the other hand,the singing mode of Peking Opera is the embodiment of music stylization,which is mainly completed by xipi and Erhuang tunes.It is the "personality" manifestation of traditional Chinese music,and also the reference value of Chinese chorus art.The application of Peking Opera elements in chorus is not only the combination of Chinese traditional culture and Western art,but also the embodiment of traditional culture inheritance and innovation.It can not only promote and solve the bottleneck of Peking opera development,but also open up the diversified development path of Chinese chorus art.Therefore,the author takes the application of Beijing Opera elements in chorus works as the research direction.This paper is divided into five chapters.The first chapter summarizes the origin and development of Chinese Chorus Art and Peking opera art,as well as the definition of Peking Opera elements.The second chapter analyzes the differences and similarities in the creation and performance of Peking Opera and chorus,in order to elaborate the possibility of their integration.In the third chapter,based on the choral works collected first,the author classifies and analyzes the fusion of Beijing Opera elements in the creation and performance of the works.The fourth chapter takes the reform of Peking Opera as the boundary to analyze how the elements of Peking Opera are integrated into the chorus in the two Peking opera style works of "island ice wheel" and "ushering in spring to change the world".The last chapter analyzes the current situation,value and significance of the integration of Peking Opera elements into Chinese chorus works,and finally puts forward the prospect of this kind of works.更多还原