合阳线偶戏音乐技术现象研究
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摘要
合阳线偶戏,是发源于陕西合阳一带的独特剧种。因其演出风格别具一格、戏曲音乐独具特色,它一直深受全国各地的戏曲爱好者的喜爱和赞誉。作为国家第一批非物质文化遗产之一,它经历了两千多年的时光流转,而成为我国乃至世界艺术史上起源最早、发展最早的线偶戏剧种,也是迄今为止,保留古老线偶艺术最多的剧种之一。
线偶戏成为一种独立的剧种,它的发源朝代大约是在汉代,到了唐朝时兴盛一时,明清两朝在全国上下比较活跃。它以其独特的艺术魅力和独特风格而成为中华一绝。除了它的表演外,它的音乐更是值得玩味品尝。其唱腔自成一系,韵味十足,故有“到了合阳,必听线腔”之说。它那委婉细腻的音韵,体现了合阳人民的质朴无华,透过线偶戏音乐,人们可以一窥合阳一带深厚的文化底蕴。
本文主要从合阳线偶戏的起源发展的角度,深入分析其产生的脉络走向,研究其独特的艺术特征,进一步论证线偶戏音乐的主要技术现象。
第一部分中,笔者从三个方面对线偶戏及线偶戏音乐的起源进行阐述。早在帝喾时代,线偶戏的戏具木偶已经产生,到了夏商时,木偶歌舞的不断发展,以及“优伶”的出现促进了木偶与戏的结合,经历了秦汉歌舞与散乐百戏的融合阶段后,线偶戏逐步萌生。在其发展过程中,线偶戏音乐受“劝善调”的影响巨大,同时,在合阳一带的农业神歌也成为线偶戏音乐衍变过程中的一个重要推动因素,最终为向具有独立声腔特色的线偶调的形成奠定了基础。
第二部分着重论述了线偶戏音乐的三大组成部分—唱腔音乐、丝竹音乐、锣鼓音乐。笔者结合实例重点分析了唱腔音乐中的板式流程、线偶调和乱弹调的各元素构成,归纳出线偶戏丝竹音乐的运用规律;在锣鼓音乐部分,分析了锣鼓音乐的功能和线偶戏音乐中的乐队构成以及分类,最后结合大量谱例对线偶戏音乐的基本结构层次进行了阐明。
第三部分线偶戏音乐特征。笔者从线偶戏音乐的普遍性特征开始着手,结合对其的准确定位,进一步分析出它在艺术个性。从社会的、历史的角度阐明线偶戏音乐的地方化及线偶戏音乐的程式性特征。线偶戏音乐是带有明显北方属区性的剧种音乐之一,它受合阳地方语音的影响,在调式音阶、主奏乐器的定调、特有过门以及锣鼓和板头铜器等方面表现有明显的个性。
第四部分线偶戏音乐技法。笔者结合实例考查,分析了线偶戏音乐的常用技法。主要包括句式变化、板式组合、旋律发展、曲式架构四个内容。线偶戏音乐因唱腔的变化需要需对基本句式进行必要的扩充或紧缩,以此改变基本腔型句式的内部结构,形成能够表现不同感情色彩的各种式样的变化句式。同时,在板式变化上,线偶戏音乐依其各种板式的独特之处和表现作用,随着剧情的发展和人物感情的起伏,基本板式必须进行灵活的组合运用。另外,在旋律发展上,引伸、对比等一些技法也在线偶戏音乐中有所体现,基本实现了自身旋律发展的不断完善。在曲式发展方面,对置、再现、变奏和回旋等手法也运用得较为普遍。
第五部分,笔者对线偶戏音乐的和声和复调现象进行了阐述。线偶戏音乐虽年代久远,但今天看来,它已经具备了相当程度的和声形态表现。如线偶戏音乐在各个乐句结束处,不同的停顿音上构成了Ⅴ-Ⅰ,Ⅰ-Ⅴ的进行,这与西方的奥尔加农时期的和声特征较为接近。同时,线偶戏音乐和声形态的类似表现,主要基于其完整的板式体系已经形成、伴奏的形式和乐队的配置也相对成熟等一系列客观事实。一些技术现象如演唱中男女二声部中有三度、四度音程叠置,在纯器乐的伴奏中出现了五度、六度的音程叠置等。笔者还对和声(Ⅰ)的表现形态,即唱词衬词中由他人应和在帮腔的部分进行了论述。在复调方面,线偶戏音乐的“复调循环套曲”形式主要体现在各种板式的板头铜器音乐中。其打击乐又为表现线偶戏音乐特点的和声音型节奏与织体提供了条件。另外,线偶戏音乐还运用对比复调、支声复调等手法,使线偶戏音乐显得淳朴、自然,富有生活气息。
The quo of He Yang marionette,is the origin gathers the positive area in Shanxi the unique kind of drama.Because its performance style has a distinctive style,drama music to be characteristic,it continuously deeply the land's drama amateur's affection and praise.As national one of first batch of non-material cultural heritages,it has experienced more than 2000 year time circulations,but becomes our country and even in the world art history origins,develops the earliest line pair play to plant most early,is also until now,one of retention ancient line pair art most kinds of drama.
The quo of He Yang marionette becomes one kind of independent kind of drama,its origin dynasty probably is in the Han Dynasty,to the Tang Dynasty when prosperous for a while,the Ming and Qing Dynasties two face in the entire country is quite active.It becomes China by its unique artistic charm and the unique style one certainly.Besides its performance,its music is worth pondering tastes.Its melody from becomes a department,the flavor is full, therefore had "to has gathered positive,must listen to the line cavity" saying.It that tactful exquisite sound,manifested has gathered,by line pair play music,as soon as the people might peep gather the positive area deep cultural inside story.
This article mainly from gathers the land puppet show's origin development angle,analyzes the vein trend which thoroughly it produces, studies its unique artistic characteristic,further proves the quo of He Yang marionette music the major technique phenomenon.
In the first part,the author carries on the elaboration from three aspects to the quo of He Yang marionette and its music's origin.As early as in emperor ku the time,the quo of He Yang marionette's stage props puppet already produced,to Xia Shangshi,puppet dance unceasing development,as well as "actor" the appearance promoted the puppet and play's union,has experienced the Qin and Han Dynasty dance after dispersing the happy hundred play's fusion stage,the quo of He Yang marionette gradually sprouts.In its developing process,quo of He Yang marionette music receives "encourages good behavior the accent" the influence to be huge,simultaneously,in gathers the positive area the agricultural god song also to become the quo of He Yang marionette music to evolve in a process important impetus factor, for to had the formation which the independent tune characteristic's line pair moved to lay the foundation finally.
The second part elaborated the quo of He Yang marionette music three big constituent - melody music,string and woodwind instruments music,percussion instrument music emphatically.The author unified in the example selective analysis various elements constitution which melody music the board style flow,the line pair well distributed chaotic ball moved,the induction going beyond a line puppet show string and woodwind instruments music utilization rule;In the percussion instrument music part,has analyzed in the percussion instrument music function and the quo of He Yang marionette music orchestra constitution as well as the classification,finally unified the massive spectrum example to carry on the exposition to the quo of He Yang marionette music basic structure level.
Third part of play music characteristic.The author starts from the quo of He Yang marionette music's universal characteristic to begin,to unify to its accurate localization,further analyzes it in the artistic individuality.From social,historical angle exposition line pair play music localization and quo of He Yang marionette music program characteristic,quo of He Yang marionette music has obviously north is one of area kind of drama musics,it is gathered the positive place pronunciation the influence,in the mode scale,the host plays music to tune,unique gets married as well as aspects and so on percussion instrument and board copperware displays has the obvious individuality.
Fourth part of line pair play music technique.The author unifies the example examination,has analyzed the quo of He Yang marionette music commonly used technique.Mainly includes the sentence type change,the board style combination,the melody development,the musical form construction four contents.Because quo of He Yang marionette music the melody change needs to carry on the essential expansion or the contraction to the basic sentence type,by this change basic cavity sentence's-like internal structure,forms can display the different sentimental color to change sentence type.At the same time,in the board style change,quo of He Yang marionette music according to its each beat's unique merit and the performance function,along with the plot development and the character sentiment's fluctuation,the basic beat must carry on the nimble combination utilization.Moreover,in the melody development,the extension,the contrast and so on some technique also on quo of He Yang marionette music has manifests,has realized the own melody development unceasing consummation basically.In the musical form development aspect,techniques and so on opposition,reappearance,variation and maneuver also utilize universally.
The fifth part,the author has carried on the elaboration to the quo of He Yang marionette music and the sound and the duplicate accent phenomenon. Although quo of He Yang marionette music the age is remote,but today looks like,it had already had the suitable degree and the sound shape performance. If quo of He Yang marionette music in each phrase conclusion place,different stopped in the staccato to constituteⅤ-Ⅰ,Ⅰ-Ⅴadvance,this and West's Orr the cannon time and the sound characteristic were closer.At the same time, quo of He Yang marionette music and the sound shape's similar performance, mainly already formed,the accompaniment form and orchestra's disposition based on its complete board style system also relatively mature and so on a series of facts.Some technical phenomenon like sings in the male and female two musical parts to have three degree,four degree interval superpositions, presented five degree,six degree interval superpositions in the pure instrumental music's accompaniment and so on.Author also to with sound(Ⅰ) the performance shape,namely in the song lyrics lining word should with the part which backed up carry on the elaboration by other people.In the duplicate accent aspect,quo of HeYang marionette music "the duplicate accent circulation divertimento" the form mainly manifests in each board style board copperware music.It attacked Le Youwei to display the quo of HeYang marionette music characteristic and the sound rhythm with weaves the body to provide the condition.Moreover,quo of HeYang marionette music also using techniques and so on contrast,imitation,causes the quo of He Yang marionette music appears simple and honorable,the nature,lives richly the breath.
线偶戏成为一种独立的剧种,它的发源朝代大约是在汉代,到了唐朝时兴盛一时,明清两朝在全国上下比较活跃。它以其独特的艺术魅力和独特风格而成为中华一绝。除了它的表演外,它的音乐更是值得玩味品尝。其唱腔自成一系,韵味十足,故有“到了合阳,必听线腔”之说。它那委婉细腻的音韵,体现了合阳人民的质朴无华,透过线偶戏音乐,人们可以一窥合阳一带深厚的文化底蕴。
本文主要从合阳线偶戏的起源发展的角度,深入分析其产生的脉络走向,研究其独特的艺术特征,进一步论证线偶戏音乐的主要技术现象。
第一部分中,笔者从三个方面对线偶戏及线偶戏音乐的起源进行阐述。早在帝喾时代,线偶戏的戏具木偶已经产生,到了夏商时,木偶歌舞的不断发展,以及“优伶”的出现促进了木偶与戏的结合,经历了秦汉歌舞与散乐百戏的融合阶段后,线偶戏逐步萌生。在其发展过程中,线偶戏音乐受“劝善调”的影响巨大,同时,在合阳一带的农业神歌也成为线偶戏音乐衍变过程中的一个重要推动因素,最终为向具有独立声腔特色的线偶调的形成奠定了基础。
第二部分着重论述了线偶戏音乐的三大组成部分—唱腔音乐、丝竹音乐、锣鼓音乐。笔者结合实例重点分析了唱腔音乐中的板式流程、线偶调和乱弹调的各元素构成,归纳出线偶戏丝竹音乐的运用规律;在锣鼓音乐部分,分析了锣鼓音乐的功能和线偶戏音乐中的乐队构成以及分类,最后结合大量谱例对线偶戏音乐的基本结构层次进行了阐明。
第三部分线偶戏音乐特征。笔者从线偶戏音乐的普遍性特征开始着手,结合对其的准确定位,进一步分析出它在艺术个性。从社会的、历史的角度阐明线偶戏音乐的地方化及线偶戏音乐的程式性特征。线偶戏音乐是带有明显北方属区性的剧种音乐之一,它受合阳地方语音的影响,在调式音阶、主奏乐器的定调、特有过门以及锣鼓和板头铜器等方面表现有明显的个性。
第四部分线偶戏音乐技法。笔者结合实例考查,分析了线偶戏音乐的常用技法。主要包括句式变化、板式组合、旋律发展、曲式架构四个内容。线偶戏音乐因唱腔的变化需要需对基本句式进行必要的扩充或紧缩,以此改变基本腔型句式的内部结构,形成能够表现不同感情色彩的各种式样的变化句式。同时,在板式变化上,线偶戏音乐依其各种板式的独特之处和表现作用,随着剧情的发展和人物感情的起伏,基本板式必须进行灵活的组合运用。另外,在旋律发展上,引伸、对比等一些技法也在线偶戏音乐中有所体现,基本实现了自身旋律发展的不断完善。在曲式发展方面,对置、再现、变奏和回旋等手法也运用得较为普遍。
第五部分,笔者对线偶戏音乐的和声和复调现象进行了阐述。线偶戏音乐虽年代久远,但今天看来,它已经具备了相当程度的和声形态表现。如线偶戏音乐在各个乐句结束处,不同的停顿音上构成了Ⅴ-Ⅰ,Ⅰ-Ⅴ的进行,这与西方的奥尔加农时期的和声特征较为接近。同时,线偶戏音乐和声形态的类似表现,主要基于其完整的板式体系已经形成、伴奏的形式和乐队的配置也相对成熟等一系列客观事实。一些技术现象如演唱中男女二声部中有三度、四度音程叠置,在纯器乐的伴奏中出现了五度、六度的音程叠置等。笔者还对和声(Ⅰ)的表现形态,即唱词衬词中由他人应和在帮腔的部分进行了论述。在复调方面,线偶戏音乐的“复调循环套曲”形式主要体现在各种板式的板头铜器音乐中。其打击乐又为表现线偶戏音乐特点的和声音型节奏与织体提供了条件。另外,线偶戏音乐还运用对比复调、支声复调等手法,使线偶戏音乐显得淳朴、自然,富有生活气息。
The quo of He Yang marionette,is the origin gathers the positive area in Shanxi the unique kind of drama.Because its performance style has a distinctive style,drama music to be characteristic,it continuously deeply the land's drama amateur's affection and praise.As national one of first batch of non-material cultural heritages,it has experienced more than 2000 year time circulations,but becomes our country and even in the world art history origins,develops the earliest line pair play to plant most early,is also until now,one of retention ancient line pair art most kinds of drama.
The quo of He Yang marionette becomes one kind of independent kind of drama,its origin dynasty probably is in the Han Dynasty,to the Tang Dynasty when prosperous for a while,the Ming and Qing Dynasties two face in the entire country is quite active.It becomes China by its unique artistic charm and the unique style one certainly.Besides its performance,its music is worth pondering tastes.Its melody from becomes a department,the flavor is full, therefore had "to has gathered positive,must listen to the line cavity" saying.It that tactful exquisite sound,manifested has gathered,by line pair play music,as soon as the people might peep gather the positive area deep cultural inside story.
This article mainly from gathers the land puppet show's origin development angle,analyzes the vein trend which thoroughly it produces, studies its unique artistic characteristic,further proves the quo of He Yang marionette music the major technique phenomenon.
In the first part,the author carries on the elaboration from three aspects to the quo of He Yang marionette and its music's origin.As early as in emperor ku the time,the quo of He Yang marionette's stage props puppet already produced,to Xia Shangshi,puppet dance unceasing development,as well as "actor" the appearance promoted the puppet and play's union,has experienced the Qin and Han Dynasty dance after dispersing the happy hundred play's fusion stage,the quo of He Yang marionette gradually sprouts.In its developing process,quo of He Yang marionette music receives "encourages good behavior the accent" the influence to be huge,simultaneously,in gathers the positive area the agricultural god song also to become the quo of He Yang marionette music to evolve in a process important impetus factor, for to had the formation which the independent tune characteristic's line pair moved to lay the foundation finally.
The second part elaborated the quo of He Yang marionette music three big constituent - melody music,string and woodwind instruments music,percussion instrument music emphatically.The author unified in the example selective analysis various elements constitution which melody music the board style flow,the line pair well distributed chaotic ball moved,the induction going beyond a line puppet show string and woodwind instruments music utilization rule;In the percussion instrument music part,has analyzed in the percussion instrument music function and the quo of He Yang marionette music orchestra constitution as well as the classification,finally unified the massive spectrum example to carry on the exposition to the quo of He Yang marionette music basic structure level.
Third part of play music characteristic.The author starts from the quo of He Yang marionette music's universal characteristic to begin,to unify to its accurate localization,further analyzes it in the artistic individuality.From social,historical angle exposition line pair play music localization and quo of He Yang marionette music program characteristic,quo of He Yang marionette music has obviously north is one of area kind of drama musics,it is gathered the positive place pronunciation the influence,in the mode scale,the host plays music to tune,unique gets married as well as aspects and so on percussion instrument and board copperware displays has the obvious individuality.
Fourth part of line pair play music technique.The author unifies the example examination,has analyzed the quo of He Yang marionette music commonly used technique.Mainly includes the sentence type change,the board style combination,the melody development,the musical form construction four contents.Because quo of He Yang marionette music the melody change needs to carry on the essential expansion or the contraction to the basic sentence type,by this change basic cavity sentence's-like internal structure,forms can display the different sentimental color to change sentence type.At the same time,in the board style change,quo of He Yang marionette music according to its each beat's unique merit and the performance function,along with the plot development and the character sentiment's fluctuation,the basic beat must carry on the nimble combination utilization.Moreover,in the melody development,the extension,the contrast and so on some technique also on quo of He Yang marionette music has manifests,has realized the own melody development unceasing consummation basically.In the musical form development aspect,techniques and so on opposition,reappearance,variation and maneuver also utilize universally.
The fifth part,the author has carried on the elaboration to the quo of He Yang marionette music and the sound and the duplicate accent phenomenon. Although quo of He Yang marionette music the age is remote,but today looks like,it had already had the suitable degree and the sound shape performance. If quo of He Yang marionette music in each phrase conclusion place,different stopped in the staccato to constituteⅤ-Ⅰ,Ⅰ-Ⅴadvance,this and West's Orr the cannon time and the sound characteristic were closer.At the same time, quo of He Yang marionette music and the sound shape's similar performance, mainly already formed,the accompaniment form and orchestra's disposition based on its complete board style system also relatively mature and so on a series of facts.Some technical phenomenon like sings in the male and female two musical parts to have three degree,four degree interval superpositions, presented five degree,six degree interval superpositions in the pure instrumental music's accompaniment and so on.Author also to with sound(Ⅰ) the performance shape,namely in the song lyrics lining word should with the part which backed up carry on the elaboration by other people.In the duplicate accent aspect,quo of HeYang marionette music "the duplicate accent circulation divertimento" the form mainly manifests in each board style board copperware music.It attacked Le Youwei to display the quo of HeYang marionette music characteristic and the sound rhythm with weaves the body to provide the condition.Moreover,quo of HeYang marionette music also using techniques and so on contrast,imitation,causes the quo of He Yang marionette music appears simple and honorable,the nature,lives richly the breath.
引文
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[1]党正乾.合阳线偶戏音乐[M].合阳:合阳县文化馆.2005
[2]孙凯第.傀儡戏考原[M].上杂出版社.1952
[3](宋)郭茂倩.乐府诗集[M].上海:中华书店.1979
[4]中国古典戏曲论集成[M].北京:中国戏剧出版社.1980
[5]肖炳.秦腔音乐唱板浅释[M].西安:陕西人民出版社.1980
[6]张赣生.中国戏曲艺术[M].:百花文艺出版社.1982
[7]潘哲.秦腔音乐分析[M].西安:陕西人民出版社.1993
[8]陈幼韩.戏曲表演美学探索[M].北京:中国戏剧出版社.1985
[9]焦文彬.秦腔史稿[M].西安:陕西人民出版社.1987
[10]丁言昭.中国木偶史[M].上海:学林出版社.1991
[11]中华文化通志-戏曲志.北京:中华文化通志编委会.1998
[12]黄笙闻.线戏简史[M].西安:人文杂志社.1999
[13]杨红.中国传统音乐引论[M].北京:中国文联出版社.1999
[14]李占鹏.宋前戏剧形成史[M].兰州:甘肃文化出版社.2000
[15]钱仁康、钱亦平.音乐作品分析教程[M].上海:上海音乐出版社.2001
[16]于苏贤.复调音乐教程[M].上海:上海音乐出版社.2001
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[19]赵晓生.传统作曲技法[M].上海:上海教育出版社.2003
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[21]王耀华、杜亚雄.中国传统音乐概论[M].福州:福建教育出版社.2004
[22]吴式锴.和声艺术发展史[M].上海:上海音乐出版社.2004
[23]刘正维.20世纪戏曲音乐发展的多视角研究[M].北京:中央音乐学院出版社.2004
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[26]钱亦平.钱仁康音乐文选续编[M].上海:上海音乐出版社.2004
[27]叶长海.中国戏剧研究[M].福州:福建人民出版社.2006
[28]廖乃雄.音乐教学法[M].北京:中央音乐学院出版社.2005
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[30]史耀增.合阳提线木偶戏今昔谈[J].当代戏剧.1980.(1)
[31]史耀增.线腔戏的老家在合阳[J].当代戏剧.1989.(2)
[32]史耀增.古老的合阳提线木偶戏[J].当代戏剧.2004.(6)
[33]沈宇.合阳提线木偶戏[J].文明.2006.(4)
[34]刘正维.戏曲腔式及其板块分布论[J].中国音乐学.1993.(4)
[35]蔡际洲.当代中国戏曲音乐的历史进程与发展趋向[J].中国音乐学.1994.(1)
[36]刘正维.中国戏曲音乐形态的民族性[J].中国音乐学.1996.(3)
[37]褚历.“九宫大成南北词宫谱”曲牌的曲式结构特点[J].黄钟.1997.(4)
[38]黄允.变宫的轨迹[J].中国音乐学.2002.(4)
[39]许德宝.陕西戏曲形态概说[J].交响.2003.(3)
[40]刘正维.论戏曲音乐发展的五个时期[J].黄钟.2003.(2)
[41]陈建森.戏曲形态新论[J].华南师范大学学报(社会科学版).2004.(4)
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[44]沈洽.音腔论(续)[J].中央音乐学院学报.1983.(1)
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[46]刘正维.戏曲声腔分类新论[J].黄钟.1988.(1)
[47]张昊.秦腔打击乐与木偶艺术[J].当代戏剧.200.(5)
[48]司文虎、许德宝.试论中国戏曲音乐的节奏节拍形态[J].交响.1993.(3)
[49]罗映辉.论板腔体戏曲音乐的板式[J].中央音乐学院学报.1981.(3)
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