摘要
20世纪50年代以前,越剧唱腔均出自演员之口,系由演员口头创腔。这种口头创作的唱腔总是以“活口”演唱的方式存在于越剧演出中。文章以代表性的越剧传统戏《楼台会》为分析对象,以袁雪芬、傅全香和范瑞娟在有关唱片和电影中的演唱及她们的回忆为例,论证了口头创腔和活口演唱是越剧音乐的重要传统。它们和写谱创腔和定腔定谱演唱并没有高下之分,应该同时并存,相互补充和竞争,殊途同归地繁荣和发展越剧音乐。
Before the 1950s,performers in Yun opera orally created their own music and sang in live performances.This article takes the representative traditional Yueopera Lou Tai Hui(The Meeting at the Terrace)as a case study and analyzes Yuan Xuefen’s,Fu Quanxiang’s and Fan Ruijuan’s singing in related recordings and films,as well as their recollections to verify the importance of orally creative activities and live singing in Yue opera music-making which should co-exist,complement and compete with the composers’ creations.
出处
《音乐文化研究》
2022年第4期73-84,M0004,共13页
Music Culture Studies
关键词
越剧
口头创腔
活口演唱
袁雪芬
傅全香
范瑞娟
Yue opera
Oral creation
Live singing
Yuan Xuefen
Fu Quanxiang
Fan Ruijuan
