金湘歌剧《原野》咏叹调音乐语言的多样性与贯穿性

Diversity and Penetrability of Aria Music Language in Opera "Savage Land" by Jin Xiang

歌剧《原野》自年首演后,年来成为全国各大剧院常演不衰的剧目。如今对于《原野》的研究方兴未艾,但对其咏叹调音乐语言的研究仍不系统、深入。笔者从主题的多样性与非角色化贯穿再现、核心乐汇的多样性与变形贯穿、旋律性对位化织体的多样性与贯穿性、纯五度复合和声的多样性与贯穿运用、音乐结构的多样性与贯穿性等方面,探索歌剧《原野》咏叹调音乐语言多样性与贯穿性特征。

Since premiering in 1987, opera ＂Savage Land＂ has become a classical and enduring repertoire for 27 years. Nowadays more and more people are keen to study it, but research on the aria music language is not systematic and in-depth. The author tries to explore the diversity and penetrability of aria music language in opera ＂Savage Land＂ from different aspects, such as the diversity and non role penetration of theme, the diversity and deformation of the core music, the diversity and penetrability of melodic contrapuntal texture, the diversity and penetrating usage of the compound perfect fifth harmony, and the diversity and penetrability of music structure, etc.