眉户音乐特色研究
摘要
眉户戏主要流行于陕西关中和山西晋南两地,格调清新、质朴无华、内容多是普通百姓生活的折射,长期以来深受广大观众喜爱。具有悠久历史的眉户戏剧,经过几百年的发展和完善,不仅形成了其优美的艺术形式与娴熟的表演技巧,而且拥有了独具特色的艺术风格,也形成了自己特有的唱腔和声腔体系。
眉户戏的乐器配置同其它梆子戏一样,也分管弦乐和打击乐两组,俗称“文武场”。文场初以三弦为主,后加进板胡、竹笛,合称为“三大件”。武场乐器起初只有四页瓦与碰铃,后来板鼓、梆子、小锣、钹取而代之,清光绪后又加入了铙钹、马锣等,这些都是从梆子戏中借鉴而来的。在随后的发展中,乐队在原先的基础上增加了多种打击乐器,如手锣、梆子、铙钹、钩锣、牙子等,到了20世纪60年代,又在传统乐队基础上又增加了二胡、琵琶、扬琴、大提琴等。
眉户戏的唱腔多表现幽默、风趣的格调或豪壮、悲伤的情绪,所以它的唱腔曲调缠绵柔和,娓娓动听。眉户的音阶调式以七声音阶为主,六声音阶次之,五声音阶仅存在于花音唱腔中,眉户调式基本音级之间的这种音程关系的独特性,造就了眉户音乐的独特风味及色彩。在眉户的定调上,眉户的音域超越两个八度,过去眉户均为男声演唱,其调定为A调(有时也定G调),高音唱不上去时则采用假嗓,低音人声所不及则用乐器代替。解放后,由于女角不断参加眉户戏的演唱,所以其调也做了相应的改变,现在通常用F调。如若某出戏以男声唱腔为主,女声唱腔较少,且剧情多表现高亢、悲愤等情绪时,也可采用G调。F调与G调的演唱效果各有所长,前者缠绵柔和,后者高亢明亮。眉户唱腔属曲牌体,曲牌俗称“牌子”,以民歌小调为主,其唱腔曲牌据传有72大调、36小调。眉户曲牌数量很多,唱腔没有严格的行当之分,但在行腔和唱法上却很讲究男女老幼和生、旦、净、丑的区别。就感情色彩的不同而言,眉户曲牌有表现凄凉伤感的、有表现沉痛悲哀的、有表现怨恨伤神的、有表现急切烦躁的、有表现活泼欢畅、诙谐的、有表现喜悦愉快的、有表现逍遥自在的等。若按曲调戏剧化程度的不同来分,可分为戏剧性曲牌与说唱性曲牌。眉户唱腔结构有单曲反复、双曲联套、多曲联缀和套曲。单曲反复是以一首曲牌反复使用来表现一段唱词,构成一个完整唱段;多曲联缀,指诸多不同的曲牌连接构成一个完整唱段,连接强调结构和节奏的统一性;多曲联套,指从人物性格出发,按艺术规律结构而成的曲牌组合,既有一定格式性,又相对灵活。
改革开放后,突如其来的现代化迅速抢占了人们头脑中对传统的记忆,所有传统文化都受到严重冲击,眉户戏曲在改革的大潮中也未能幸免,造成这种现象的原因是多方面的:一是一线演员的流失及二线演员的不足给予各眉户剧团致命的打击;二是高额的演出费用封闭了眉户戏曲的广大城乡市场;三是大成本、大制作的方式窒息了眉户戏曲的民间生命力;四是发展创新上的不足是导致眉户戏曲裹足不前的一个重要原因。
眉户戏曲艺术为了赢得观众、占有观众,在异彩纷呈的众多艺术形式中占有自己的一席之地,广大眉户戏曲音乐工作者在继承、借鉴经典剧目优美唱腔的前提下,从剧目表演到戏曲唱腔等各个方面进行了改革与创新,突破“老腔老调”模式,创作出了大量唱腔优美且符合时代精神与要求的优秀戏剧,但目前眉户戏的发展并不十分乐观。我们应该做的就是发展与创新传统的眉户戏,积极培养观众、革新剧目、综合治理,使之与时俱进,适应时代的发展,符合广大人民群众文化生活的需要。
Mihu play is mainly popular south the Shanxi Guanzhong and the mountain Western Jin Dynasty two places, the style fresh, plain plain, the content many are the refraction which the common people live, since long is deep the mass audiences is liked. Has the long history Mihu play, undergoes several hundred year development and the consummation, not only has formed its exquisite artistic form and the adept playing skill, moreover had the artistic style which is characteristic, also has formed the unique melody and the tune system.
Mihu play's musical instrument disposition is the same with other coconut palm play, is also in charge of the stringed instruments and attacks the happy two groups, the popular name“the article musicians who play percussion instruments”. At the beginning of the orchestral accompaniment by the samisen primarily, add-on enters board Hu, the bamboo flute, hecheng is“three big-ticket items”. The musicians who play percussion instruments musical instrument at first only then four pages of tiles and Pengling, afterward Bangu, the coconut palm, the small gong, the cymbals displaced. After clear Guang Xu, has joined the cymbal, the horse gong and so on, these are use for reference from the coconut palm play come. In afterward development, the orchestra increased many kinds of percussion instruments in the original foundation, like hand-gong, coconut palm, cymbal, hook gong, serrated edge and so on, to the 1960s, also increased the urheen, the pipa, the dulcimer, the cello in the traditional orchestra foundation and so on.
Mihu play's melody multi-performance humorous, charming style or grand and heroic, sad mood, therefore its melody melody tangled up gentle, speaks with absorbing interest. Mihu scale mode by seven scales primarily, six sound order it, the pentatonic scale only exists in the grace notes melody, between Mihu mode fundamental tone level's this kind of interval relations' distinctive quality, has accomplished the Mihu music unique flavor and the color. On Mihu 's tuning, the Mihu range surmounts two octaves, in the past the eyebrow average per household sang for the male voice, its accent decided as A to move (sometimes also decides the G accent), the treble could not sing when used the falsetto, the bass sounds of people, then replaced with the musical instrument. After the liberation, because the female role participates in Mihu play's singer unceasingly, therefore its accent has also made the corresponding change, now usually uses the F accent. If some play by the male voice melody, the female voice melody are primarily few, and the plot multi-performance are resounding, when mood and so on grief and indignation, may also use the G accent. F moves with G moves sings effect each has its strong points, the former tangled up gentle, the latter resounding bright. The Mihu melody is the names of the tunes to which qu are composed body, the names of the tunes to which qu are composed popular name“the sign”, by folk song folk song primarily. Its melody names of the tunes to which qu are composed it is reported that have 72 major, 36 folk songs. Mihu names of the tunes to which qu are composed quantity are many, division melody not strict trade, but in sings own interpretation and sings in the law actually very much to be fastidious about the male and female old and young and to live, the day, only, clown's difference. Different speaking of the sentimental color, the Mihu names of the tunes to which qu are composed have the performance miserably moved, to have the performance extremely painfully sorrowful, to have display the hate to be nerve-racking, to have the performance to be agitated anxiously, vividly to have the performance elated, humorous, to have the performance joyfully happy, to have display and so on free and unrestrained. If does not come together according to the melody dramatization degree the minute, may divide into the theatrical names of the tunes to which qu are composed and the traditional entertainment involving talking and singing names of the tunes to which qu are composed. The Mihu melody structure has the single tune, the hyperbolic to unite the set, the multi-tune lacing and the divertimento repeatedly. Shan Qu is repeatedly displays section of song lyrics repeatedly by a names of the tunes to which qu are composed use, constitutes a complete aria. The multi-tune lacing, refers to many different names of the tunes to which qu are composed connections to constitute a complete aria, the connection emphasizes the structure and the rhythm unity. Multi-Qu Liantao, refers to from the character disposition embarks, becomes the names of the tunes to which qu are composed combination according to the artistic rule structure, both has certain form, and relatively nimble.
After reform and open policy, the modernization suddenly has seized in rapidly the people brains to the traditional memory, all traditional culture is under the serious impact, the Mihu drama has not been able to escape by luck in the reform flood tide, to create this kind of phenomenon the reason is various: First, an actor's outflow and two actor's insufficiency gives the various Mihu theatrical troupe deathblow; Second, the high quota performance expense has sealed up the Mihu drama's general city and countryside market; Third, the great cost, the big manufacture's way has suffocated the Mihu drama's folk vitality; Fourth, the development innovates the insufficiency causes a substantial clause which the Mihu drama is hesitant to advance. Mihu drama art to win the audience, to hold the audience, holds own small space in the colourful numerous artistic form, the general Mihu drama musician in inherits, profits from the classical plays exquisite melody under the premise, performed from the plays to the drama melody and so on each aspect has carried on the reform and the innovation, the breakthrough“the old cavity same old tune”the pattern, created the massive melodies to be exquisite, and was in keeping with the spirit of the age and the request outstanding play. But present Mihu play's development is not very optimistic. We should do are the development and the innovation tradition Mihu play, raises the audience, the innovation plays, the comprehensive program of public order positively, causes it to keep pace with the times, the adaptation time's development, meets the broad masses culture life need.
眉户戏的乐器配置同其它梆子戏一样,也分管弦乐和打击乐两组,俗称“文武场”。文场初以三弦为主,后加进板胡、竹笛,合称为“三大件”。武场乐器起初只有四页瓦与碰铃,后来板鼓、梆子、小锣、钹取而代之,清光绪后又加入了铙钹、马锣等,这些都是从梆子戏中借鉴而来的。在随后的发展中,乐队在原先的基础上增加了多种打击乐器,如手锣、梆子、铙钹、钩锣、牙子等,到了20世纪60年代,又在传统乐队基础上又增加了二胡、琵琶、扬琴、大提琴等。
眉户戏的唱腔多表现幽默、风趣的格调或豪壮、悲伤的情绪,所以它的唱腔曲调缠绵柔和,娓娓动听。眉户的音阶调式以七声音阶为主,六声音阶次之,五声音阶仅存在于花音唱腔中,眉户调式基本音级之间的这种音程关系的独特性,造就了眉户音乐的独特风味及色彩。在眉户的定调上,眉户的音域超越两个八度,过去眉户均为男声演唱,其调定为A调(有时也定G调),高音唱不上去时则采用假嗓,低音人声所不及则用乐器代替。解放后,由于女角不断参加眉户戏的演唱,所以其调也做了相应的改变,现在通常用F调。如若某出戏以男声唱腔为主,女声唱腔较少,且剧情多表现高亢、悲愤等情绪时,也可采用G调。F调与G调的演唱效果各有所长,前者缠绵柔和,后者高亢明亮。眉户唱腔属曲牌体,曲牌俗称“牌子”,以民歌小调为主,其唱腔曲牌据传有72大调、36小调。眉户曲牌数量很多,唱腔没有严格的行当之分,但在行腔和唱法上却很讲究男女老幼和生、旦、净、丑的区别。就感情色彩的不同而言,眉户曲牌有表现凄凉伤感的、有表现沉痛悲哀的、有表现怨恨伤神的、有表现急切烦躁的、有表现活泼欢畅、诙谐的、有表现喜悦愉快的、有表现逍遥自在的等。若按曲调戏剧化程度的不同来分,可分为戏剧性曲牌与说唱性曲牌。眉户唱腔结构有单曲反复、双曲联套、多曲联缀和套曲。单曲反复是以一首曲牌反复使用来表现一段唱词,构成一个完整唱段;多曲联缀,指诸多不同的曲牌连接构成一个完整唱段,连接强调结构和节奏的统一性;多曲联套,指从人物性格出发,按艺术规律结构而成的曲牌组合,既有一定格式性,又相对灵活。
改革开放后,突如其来的现代化迅速抢占了人们头脑中对传统的记忆,所有传统文化都受到严重冲击,眉户戏曲在改革的大潮中也未能幸免,造成这种现象的原因是多方面的:一是一线演员的流失及二线演员的不足给予各眉户剧团致命的打击;二是高额的演出费用封闭了眉户戏曲的广大城乡市场;三是大成本、大制作的方式窒息了眉户戏曲的民间生命力;四是发展创新上的不足是导致眉户戏曲裹足不前的一个重要原因。
眉户戏曲艺术为了赢得观众、占有观众,在异彩纷呈的众多艺术形式中占有自己的一席之地,广大眉户戏曲音乐工作者在继承、借鉴经典剧目优美唱腔的前提下,从剧目表演到戏曲唱腔等各个方面进行了改革与创新,突破“老腔老调”模式,创作出了大量唱腔优美且符合时代精神与要求的优秀戏剧,但目前眉户戏的发展并不十分乐观。我们应该做的就是发展与创新传统的眉户戏,积极培养观众、革新剧目、综合治理,使之与时俱进,适应时代的发展,符合广大人民群众文化生活的需要。
Mihu play is mainly popular south the Shanxi Guanzhong and the mountain Western Jin Dynasty two places, the style fresh, plain plain, the content many are the refraction which the common people live, since long is deep the mass audiences is liked. Has the long history Mihu play, undergoes several hundred year development and the consummation, not only has formed its exquisite artistic form and the adept playing skill, moreover had the artistic style which is characteristic, also has formed the unique melody and the tune system.
Mihu play's musical instrument disposition is the same with other coconut palm play, is also in charge of the stringed instruments and attacks the happy two groups, the popular name“the article musicians who play percussion instruments”. At the beginning of the orchestral accompaniment by the samisen primarily, add-on enters board Hu, the bamboo flute, hecheng is“three big-ticket items”. The musicians who play percussion instruments musical instrument at first only then four pages of tiles and Pengling, afterward Bangu, the coconut palm, the small gong, the cymbals displaced. After clear Guang Xu, has joined the cymbal, the horse gong and so on, these are use for reference from the coconut palm play come. In afterward development, the orchestra increased many kinds of percussion instruments in the original foundation, like hand-gong, coconut palm, cymbal, hook gong, serrated edge and so on, to the 1960s, also increased the urheen, the pipa, the dulcimer, the cello in the traditional orchestra foundation and so on.
Mihu play's melody multi-performance humorous, charming style or grand and heroic, sad mood, therefore its melody melody tangled up gentle, speaks with absorbing interest. Mihu scale mode by seven scales primarily, six sound order it, the pentatonic scale only exists in the grace notes melody, between Mihu mode fundamental tone level's this kind of interval relations' distinctive quality, has accomplished the Mihu music unique flavor and the color. On Mihu 's tuning, the Mihu range surmounts two octaves, in the past the eyebrow average per household sang for the male voice, its accent decided as A to move (sometimes also decides the G accent), the treble could not sing when used the falsetto, the bass sounds of people, then replaced with the musical instrument. After the liberation, because the female role participates in Mihu play's singer unceasingly, therefore its accent has also made the corresponding change, now usually uses the F accent. If some play by the male voice melody, the female voice melody are primarily few, and the plot multi-performance are resounding, when mood and so on grief and indignation, may also use the G accent. F moves with G moves sings effect each has its strong points, the former tangled up gentle, the latter resounding bright. The Mihu melody is the names of the tunes to which qu are composed body, the names of the tunes to which qu are composed popular name“the sign”, by folk song folk song primarily. Its melody names of the tunes to which qu are composed it is reported that have 72 major, 36 folk songs. Mihu names of the tunes to which qu are composed quantity are many, division melody not strict trade, but in sings own interpretation and sings in the law actually very much to be fastidious about the male and female old and young and to live, the day, only, clown's difference. Different speaking of the sentimental color, the Mihu names of the tunes to which qu are composed have the performance miserably moved, to have the performance extremely painfully sorrowful, to have display the hate to be nerve-racking, to have the performance to be agitated anxiously, vividly to have the performance elated, humorous, to have the performance joyfully happy, to have display and so on free and unrestrained. If does not come together according to the melody dramatization degree the minute, may divide into the theatrical names of the tunes to which qu are composed and the traditional entertainment involving talking and singing names of the tunes to which qu are composed. The Mihu melody structure has the single tune, the hyperbolic to unite the set, the multi-tune lacing and the divertimento repeatedly. Shan Qu is repeatedly displays section of song lyrics repeatedly by a names of the tunes to which qu are composed use, constitutes a complete aria. The multi-tune lacing, refers to many different names of the tunes to which qu are composed connections to constitute a complete aria, the connection emphasizes the structure and the rhythm unity. Multi-Qu Liantao, refers to from the character disposition embarks, becomes the names of the tunes to which qu are composed combination according to the artistic rule structure, both has certain form, and relatively nimble.
After reform and open policy, the modernization suddenly has seized in rapidly the people brains to the traditional memory, all traditional culture is under the serious impact, the Mihu drama has not been able to escape by luck in the reform flood tide, to create this kind of phenomenon the reason is various: First, an actor's outflow and two actor's insufficiency gives the various Mihu theatrical troupe deathblow; Second, the high quota performance expense has sealed up the Mihu drama's general city and countryside market; Third, the great cost, the big manufacture's way has suffocated the Mihu drama's folk vitality; Fourth, the development innovates the insufficiency causes a substantial clause which the Mihu drama is hesitant to advance. Mihu drama art to win the audience, to hold the audience, holds own small space in the colourful numerous artistic form, the general Mihu drama musician in inherits, profits from the classical plays exquisite melody under the premise, performed from the plays to the drama melody and so on each aspect has carried on the reform and the innovation, the breakthrough“the old cavity same old tune”the pattern, created the massive melodies to be exquisite, and was in keeping with the spirit of the age and the request outstanding play. But present Mihu play's development is not very optimistic. We should do are the development and the innovation tradition Mihu play, raises the audience, the innovation plays, the comprehensive program of public order positively, causes it to keep pace with the times, the adaptation time's development, meets the broad masses culture life need.
引文
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【36】徐亚娟辛琳.戏曲音乐的创新.《剧作家》.2007,02.
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【22】李静慈.《眉户戏展览演出后的展望》.陕西戏曲研究院艺术档案
【23】墨遗萍.《对李静慈先生谈眉户的意见》.陕西戏曲研究院艺术档案
【24】郭永锐.山陕眉户戏研究.山西师范大学学.2003. 期刊杂志:
【24】张丹.浅析眉户唱腔结构的混合形式.《研究与探索》.2006,10
【25】郭永锐.山陕眉户戏研究综述.《山西师范大学学报》(社会科学版).2006,11.
【26】刘建洲.论戏曲音乐的改革与创新.《中国社会音乐研究论文集》.2006 .
【27】李连生.戏曲音乐与声腔的形成.《中央戏剧学院学报》.2007,01.
【28】牛志忠.让小地方戏曲音乐登上大雅之堂.《中国校外教育》.2007,01.
【29】郭士星.也谈戏曲的保护与创新.《中国戏剧》.2007,06.
【30】焦垣生李华.从大众传播视野看当代戏曲的振兴.《当代戏剧》.2007,04.
【31】夏美芳.地方戏曲市场化与剧团管理制度.《福建艺术》.2007,04.
【32】陈明胜.戏曲乐队的演奏风格和特点.《福建艺术》. 2007,05.
【33】申良强.戏曲危机危在哪里.《当代戏剧》.2007,06.
【34】季国平.方言、声腔与戏曲新剧目创作.《中国戏剧》.2007,10.
【35】甄光俊.市场经济与戏曲命运谈.《中国戏剧》.2007,10.
【36】徐亚娟辛琳.戏曲音乐的创新.《剧作家》.2007,02.
【37】刘文峰.山西戏曲剧种剧团现状调查日记.《中国戏剧》.2006,03.
【38】胡亮王东.现代戏曲音乐创作的特点.《黄山学院学报》.2006,02.
【39】杨飞.浅谈戏曲中的音乐创作.《剧作家》.2007,04.
【40】段红霞.戏曲唱腔演唱的创新.《四川戏剧》. 2007,05.