摘要
2015年3月4日晚由徐瑛编剧,郭文景作曲,改编自老舍同名长篇小说的歌剧《骆驼祥子》在北京国家大剧院再一次上演。这样一部"土生土长"的歌剧音乐究竟呈现出何种音响形式与戏剧样貌?在该歌剧音乐的创作中,音乐元素是如何担当第一主角,并与戏剧的文学内容共同构建成为一部完整的歌剧呢?文章简要归纳了三种重要的音乐符号,分析其相对应的音乐形态,得出该歌剧的人物语言性格与北京城文化表征是该歌剧音乐创作的重要结构力因素。
The opera ＂Rickshaw Boy＂, which composed by Guo Wenjing and scripted by Xu Ying was staged again at the Beijing National Grand Theatre at March 4th, 2015. （the premiere date was on June 25, 2014.） The subject of the opera was based on the same title novel of Lao She. What kinds of sound form and theatrical effect may such an opera-an opera totally born in native soil- present to us？ And how the music elements work as the first lead, associated with the literature contents, to construct an integral opera. This paper briefly point out three important musical symbols from the opera, and analyzes the musical form these symbols exactly corresponding to, ultimately attained a conclusion that the character language and the features of Beijing culture is the main factor for the opera music to construct the structure force.
出处
《甘肃高师学报》
2016年第1期64-67,共4页
Journal of Gansu Normal Colleges
