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2005年10月左右,我与作曲家王华元同志,同被邀请观看闽剧《林则徐复出》。王华元同志曾写过秦腔音乐以及舞剧、歌剧音乐等。但之前从未听过闽剧,他说此次是他“一生第一次昕闽剧”。当第一场刚结束,王华元同志就说:“闽剧音乐没有特色,像歌剧,而且是没有音乐个性的歌剧。”这是他在审美过程中对同类艺术审美贮存信息进行横向比较后所产生的结论。因为这出戏的音乐是以“戏歌”音乐的写法,把原闽剧音乐特点完全写成歌曲的腔调了,它不是戏曲而是没有个性的歌曲了。直至第四场林则徐唱了四句没有经过所谓的“出新”而套用了原曲牌中的“宽板”唱段时,王华元同志立即问我:“这是不是闽剧原有音乐?太有特点了。”这说明戏曲音乐的写作要走套用原曲牌的方法。其实,在原曲牌的
Around October 2005, I was comrades with composer Wang Huayuan and was invited to watch the drama “Lin Ze Xu Resurface”. Wang Huayuan comrades have written Qin chamber music and dance drama, opera music. But never heard of Minpanju before, he said this is his “life for the first time Min Xin drama.” When the first field was over, Comrade Wang Huayuan said: “Min-fu music has no characteristics like opera, and is an opera without musical personality.” This is the result of his horizontal comparison of the aesthetic stored information of similar art in his aesthetic process in conclusion. Because the play’s music is based on the style of “opera” music, the original Minyuda music features completely written tune of the song, it is not opera but no personality song. Until the fourth Lin Zexu sang four did not go through the so-called “new” and applied the original song card in the “wide plate” aria, Comrade Wang Wah yuan immediately asked me: “This is not the original music in Fujian Opera? Too unique features ”This shows that the writing of opera music should go along with the original song. In fact, the original song card