豫剧伴奏在声腔音乐中的可塑性研讨.doc

豫劇伴奏在聲腔音樂中的可塑性 摘要 豫劇，又名河南梆子。其唱腔曲體為板腔體，有「慢板」、「二八板」、「流水板」和「非板」四大板式；其唱腔變化多端的戲劇表現力和文武場伴奏有很密切的關係。一個戲曲唱腔板式的構成，除了唱之外，文武場的伴奏也是極其重要的。豫劇唱腔的伴奏，一般分為前奏、大小過門、尾聲及隨腔伴奏等等；伴奏時講究「托」、「包」、「襯」、「墊」四大要訣。本文就從四大板式各自的唱腔結構來探討，豫劇伴奏在聲腔音樂中的可塑性。從伴奏音樂的角度來分析聲腔音樂，可以觀察到單從唱腔分析中無法窺見的一些面向，對於了解豫劇聲腔音樂的深層結構，應該有所助益。 關鍵字：豫劇、河南梆子、文武場、鑼鼓經 The Plasticity of Musical Accompaniment in the Vocal Tonal System of Yuju Lin lichiu Graduate Institute of Ethnomusicology, Tainan National University of the Arts Abstract Yuju is also named the Henan bangzi opera. Its singing style belongs to the banqiang (rhythmic vocal system) including four rhythmic genres. Those are manban (slow tempo), erbaban (two-eight tempo), liushuiban (tempo of water flowing), and feiban (free rhythm?). Its singing style is full of varieties to express theatrically that has very close relation to its accompaniment of wenwuchang (bamboo-silk and percussion instruments). The formation of banshi（rhythmic patterns）of traditional operas contains the vocal system and wenwuchang. The accompaniment of the yuju is generally divided into the prelude, big/small bridge, postlude and the accompaniment that follows the voice of singers. During the accompaniment, the yuju is particular about four important strategies. Those are tuo, bao, tren and den . Based on the respective vocal structures of the four rhythmic patterns, this paper will discuss the plasticity of musical accompaniment in the vocal tonal system of yuju. From the viewpoint of musical accompaniment to analyze the vocal music, we may observe some faces that we cannot discover only from the analysis of the vocal music. Hence, it is obvious that it should be helpful to understand the deep structure of the vocal tonal system of yuju. Key words: Yuju, Henan Bangzi, Wenwuchang, Luogujing 豫劇又稱河南梆子，是河南的地方戲，有著“高亢粗獷”、“豪邁激越”的音樂特色。豫劇音樂整體來說包含聲腔音樂、鑼鼓音樂、曲牌音樂三大部分；鑼鼓音樂就是打擊樂，其在整個戲曲演出中可說是居於一個主導的地位，可表現強弱、快慢、鬆緊的變化；其最明顯所欲傳達的內容，莫過於對於表演的指示以