Abstract

This article shows how the ambiguous nature of the metrical structure of the preexistent tunes used in Cantonese opera, which Rulan Chao Pian called “aria types,” allows for multiple interpretations. The flexibility inherent in such metrical ambiguity enables singers to create new musical expressions, leading to new versions and eventually to new aria types that enrich the repertoire. In tracking these processes, the article aims to provide a nuanced understanding of the “preexistent” nature of tunes and to suggest the creativity of the singers.

中國傳統戲曲利用板腔體曲調的多元化表達戲劇中喜怒哀樂等情感。從純音樂節奏方面 看,粵劇板腔曲調中詞格與曲格的分佈關係引起強弱拍衝突,形成節拍轉型,使唱腔節奏 靈活多變,啓發演員即興創作,推動板腔曲調的演變發展。本文以慢板,快中板,和快點 為例闡釋對以上的幾點體會

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