摘要
安徽地方戏曲音乐中的多声组合方式及形态类型是省内各剧种音乐风格个性化的重要标志。然而现阶段,学界对于唱腔、主奏乐器、锣鼓所聚合而成的多声音乐形态,以及唱腔、文武场伴奏所融合而成的多声创作思维等相关领域缺乏学术关照。鉴于此,从唱腔之间、唱腔与伴奏之间、器乐之间三个维度出发,围绕主调型、复调型、支声型三种多声织体,探究安徽地方戏曲音乐多声形态特征及其“隐性”多声思维,旨在为安徽地方戏曲音乐的创新和发展提供创作灵感和结构范例。
The multi-sound combination and form type in Anhui local opera music are important symbols of persona-lized music styles for various opera genres in the province.However,there is a lack of academic attention in related fields such as the multi-sound music form formed by the aggregation of singing style,main playing instruments,gongs and drums,as well as the multi-sound creative thinking formed by the fusion of singing style and accompaniment of the orchestra of traditional Chinese opera.In view of this,starting from three dimensions:between singing styles,between singing styles and accompaniment,and between instrumental music,this study explores the characteristics and"implicit"multi-sound thinking of multi-sound forms in Anhui local opera music,focusing on three multi-sound weaves:main tone,multi-sound,and supporting tone.The aim is to provide creative inspiration and structural examples for the innovation and development of Anhui local opera music.
作者
孙阿楠
SUN Anan(School of Music,Anhui University of Arts,Hefei 230011,China)
出处
《宿州学院学报》
2025年第1期74-80,共7页
Journal of Suzhou University
基金
安徽省教育厅哲学社会科学研究重点项目(2023AH052148)
安徽省高等学校质量工程项目(2023xqhz092)
教育部就业实习基地项目(2024011781870)。
