福建地方戏音乐之“和”——梨园戏、歌仔戏音乐创作作品个案分析

The Musical “Harmony” in Fujian Local Operas: A Case Study of Music Creation in Liyuan Opera and Gezai Opera

梨园戏音乐与传统科步紧密配合,在内容和形式上实现了现代和传统艺术和谐统一。歌仔戏音乐在把握传统意味的同时兼顾时代的审美趋向,充分地彰显现代与传统的差异又始终渗透着浓厚的歌仔戏韵味。无论是属于“南管”系统的古老剧种梨园戏的音乐,还是属于“歌仔”系统的年轻剧种歌仔戏,其音乐架构都体现了对“和”的美学追求,在文乐与唱腔、文武乐与表演、文乐内部之间,“和”的追求无处不在。

The music of Liyuan Opera closely cooperates with the traditional gaits(Kebu), achieving the harmonious unity of the modern and traditional arts in the content and form. The music of Gezai Opera not only grasps the traditional connotations, but also takes into account the aesthetic trend of the times, fully highlighting the difference between the modern and traditional music while always permeating a strong flavor of Gezai Opera. Whether it is the music of Liyuan opera, an ancient opera genre that belongs to “Nanguan” system, or the music of Gezai Opera, a newly-emerged opera genre that belongs to the “Gezai” system, both of their music structures reflect the aesthetic pursuit of “harmony”, which is ubiquitous in the following aspects, such as, the music and singing tune, the music and performance, and the music itself.