延續與創新——新編崑劇音樂研究;Inheritance And Innovation: Research on Music of Modern Kunqu Operas Abstract

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題名:	延續與創新——新編崑劇音樂研究;Inheritance And Innovation: Research on Music of Modern Kunqu Operas Abstract
作者:	張元昆;Yuan Kun, Chang
貢獻者:	中國文學系
關鍵詞:	新編崑劇;音樂設計;曲牌;戲曲作曲;Modern Kunqu Operas;Kunqu Operas Music;Kunqu Composition;Qupai
日期:	2023-06-27
上傳時間:	2024-09-19 14:38:21 (UTC+8)
出版者:	國立中央大學
摘要:	1956年起各地方職業崑劇團相繼成立，首要對於劇本的恢復與創作過程，以經典「折子戲」為主要外，也併行發展「新編全本戲」。而隨著時代觀戲風氣的變化，「新編全本戲」當中無論是文本或音樂的結構呈現，劇作內容各項的「創作」成分日益加重，進而促使音樂創作與架構內容，也變得不同於傳統的樣貌，以及使用方式。本論文，首要探討新編崑劇文本劇體結構的設計，以及牌套變化、曲牌內部曲文格律的填詞表現。由於當代觀戲時間的需求變化，亦使文本劇情故事敘事手法緊縮，以及劇作家對於文本呈現的追求與設計理念的不同，新編崑劇曲牌的取用與牌套結構排序、幅度的應用表現，已有著趨向縮減成不完整的簡易套式，以及單曲雜綴的因應。則曲文格律的表現，於少數特定劇作家筆下，保有完整格律的呈現以外，多數的新編崑劇曲牌曲文表現，已有所不同程度的格律變化樣貌，以及突破格律限制的填詞手法應對。而經由檢視觀察新編戲，各常用曲牌音樂中「主腔音樂框架」的整體表現、結構變化，以及音樂應用變化。可看出譜曲者面對新編戲曲文混雜不合格律，以及板式變化應用與合唱形式設計的曲牌時，皆有不同應對的旋律譜曲手法與音樂處理風格，使曲文音樂表現上賦予協調性，以及更為貼合崑劇應有的「韻味風格」表現。再者，新編戲中非曲牌的新創曲調與背景配樂譜曲音樂設計，則依據故事題材的不同，新創曲調文體或曲詞的應用，以及內容也各有所安排差異。而對於此些無格律、曲律創作約束，具彈性空間的新創曲調音樂作曲呈現，則根據譜曲者對於崑劇音樂學習背景與經驗累積之不同，整體的新創曲調音樂表現設計，則可直觀的反映出譜曲者對於崑曲音樂元素，不同程度的韻味掌握及傳統音樂設計經驗外，也展現出各個譜曲音樂設計，明顯差別的作曲風格。則新編戲的背景配樂運用，依然可見傳統的鑼鼓吹牌、器樂曲牌的承襲運用外，也有著以傳統樂曲或其他特色地方音樂旋律，作為創作改編基礎的全新配樂音樂作曲設計。 ;Local Kunqu opera companies have successively risen since 1956, focusing both on inheritance and innovation. Besides the extraordinary contribution to classical "folding plays", they also developed "modern full-length plays". Time is changing, and so is viewers′ taste. Corresponding to the evolving world, more creative components have been applied in Kunqu operas, which led to totally different musical content and construction. Based on the transformation, this paper shines a light on script formation, diverse tunes and combinations, and lyric writing of Kunqu Operas. As the performing time shortened, the narrative threads of modern scripts have been cut down. This trend, combined with playwrights′ distinct ideas, results in a preference for incomplete simple music modes or collections of disconnected tunes. As to lyric writing, except for several specific writers insisting on established patterns, most modern experts would rather choose uniquely novel forms, exploring the realm of possibilities for Kunqu. Concluded from the overall effects and the structural and musical changes of the "main patterns" in regular tunes, different strategies have been conducted to deal with the unfit chaos and the tunes composed for various rhythm and chorus. Composers adopt diverse plans to make music more coordinated to be featured as Kunqu operas. In terms of modern tunes and background music, their patterns and lyrics vary according to different stories. Without restrictions of set modes, they obtain more flexibility to reflect the composers′ different backgrounds and experiences, including their grasp of features of Kunqu operas and traditional music, and their disparately compositional styles. Thus, other than the classical tunes played with gongs or other Chinese conventional instruments, innovative compositions adapted from traditional or folk music are also seen in modern Kunqu operas.
顯示於類別:	[中國文學研究所] 博碩士論文

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