以趙咏山二胡作品《黑頭與花旦》論京劇唱腔在二胡演奏中之實踐
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2012
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在二胡曲中加入京劇風格，無論是運用唱腔或京胡曲牌來創作，如今已是稀鬆平常之事，其中京劇之唱腔更是常被作曲家選擇運用的素材之一，而二胡要如何模仿、演奏京劇唱腔，也開始成為值得演奏家深入探討之課題。
本詮釋報告主要是探討如何以二胡演奏京劇唱腔，並以台北市立國樂團之第四屆器樂大賽指定曲，委託趙咏山所創作的《黑頭與花旦》作為研究與詮釋之對象。筆者首先對京劇之行當、唱腔、板式進行概略上的探討，其後，針對樂曲所運用到之唱腔、行當、流派進行深入的分析及研究。在詮釋方面，演奏者要熟悉京劇唱腔及音樂，弓指法設計上應多參考京胡之演奏法，將兩者結合，方能將京劇唱腔之韻味淋漓盡致的表現出來。
京劇是中國戲曲的一大瑰寶，無論是在其裝扮、身段、唱腔、伴奏上都有著自身的風格與味道，其唱腔旋律不僅優美、動聽，其中更蘊含著中國千年來音樂文化之頂峰，用二胡這項善於模仿人聲之樂器來演奏，不僅可以讓京劇音樂有了新的生命，也可開拓二胡演奏之新視野，將中國之戲曲音樂以新的面貌展現於觀眾眼前。
Injecting a Chinese opera flavor into erhu pieces, including the Chinese opera aria and jinghu songs, is commonly seen nowadays. The Chinese opera aria is one of the most used elements in the composing of erhu pieces. Consequently, how the performers imitate and interpret the special aria by erhu has become a topic worth discussing. This thesis mainly studies the song “Hei-Tou and Hua-Dan”, composed by Yong-Shan Zhao and performed by Taipei Chinese Orchestra as the assigned song in the 4th Instrumental Competition, and discusses about the erhu performance in the Chinese opera singing style. The context is divided into three parts. Firstly, this thesis makes a comprehensive discussion on the Chinese opera in terms of the role categories, arias and metrical-type. Secondly this thesis makes a detailed discussion on the singing style, role categories and school of performance in music-drama used in the song “Hei-Tou and Hua-Dan” Finally, in terms of interpretation, this thesis makes a conclusion of the last two parts and further elaborates on the techniques of playing jinghu, the author’s interpretation of the song and some opinions and suggestions for performing the song, in hopes of serving as a reference for possible future performance. With its unique style of make-up, costumes, postures, aria and music, Chinese opera is a national treasure brimming with musical and cultural values. Both the aria and the tunes, containing the essence of the Chinese musical culture over thousands of years, are beautiful and fascinating. The use of the erhu, which resembles a human voice, in the performance not only breathes new life into the Chinese opera and gives a new look to Erhu performance, but taking the Chinese theatre arts to a higher level as well.
Injecting a Chinese opera flavor into erhu pieces, including the Chinese opera aria and jinghu songs, is commonly seen nowadays. The Chinese opera aria is one of the most used elements in the composing of erhu pieces. Consequently, how the performers imitate and interpret the special aria by erhu has become a topic worth discussing. This thesis mainly studies the song “Hei-Tou and Hua-Dan”, composed by Yong-Shan Zhao and performed by Taipei Chinese Orchestra as the assigned song in the 4th Instrumental Competition, and discusses about the erhu performance in the Chinese opera singing style. The context is divided into three parts. Firstly, this thesis makes a comprehensive discussion on the Chinese opera in terms of the role categories, arias and metrical-type. Secondly this thesis makes a detailed discussion on the singing style, role categories and school of performance in music-drama used in the song “Hei-Tou and Hua-Dan” Finally, in terms of interpretation, this thesis makes a conclusion of the last two parts and further elaborates on the techniques of playing jinghu, the author’s interpretation of the song and some opinions and suggestions for performing the song, in hopes of serving as a reference for possible future performance. With its unique style of make-up, costumes, postures, aria and music, Chinese opera is a national treasure brimming with musical and cultural values. Both the aria and the tunes, containing the essence of the Chinese musical culture over thousands of years, are beautiful and fascinating. The use of the erhu, which resembles a human voice, in the performance not only breathes new life into the Chinese opera and gives a new look to Erhu performance, but taking the Chinese theatre arts to a higher level as well.
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二胡, 黑頭與花旦, 趙咏山, 京劇, erhu, Hei-Tou and Hua-Dan, Yong-Shan Zhao, Chinese opera