内蒙古少数民族题材汉语歌剧创作的多元文化杂糅特征分析

Analysis of Multicultural Fusion Features in Han Chinese Opera with Inner Mongolian Ethnic Themes

内蒙古少数民族题材汉语歌剧创作既符合歌剧艺术一般的体裁形式、本体特征、表现语言,又结合中国民族民间音乐和极具蒙古族特色的音乐元素、民俗文化等,因而相关作品呈现出多元文化杂糅的特征。本文聚焦内蒙古少数民族题材汉语歌剧创作,特别是1978年后创作的四部歌剧作品(《萨布素将军》《沙格德尔》《也兰公主》《舍楞将军》),视其为具有独特意义的民族歌剧类型之一。进而运用文化杂糅、多元一体的理论,通过对这类歌剧音乐创作中调式调性与曲式结构的音乐布局、唱腔及器乐的本体分析,阐述其多元文化杂糅特征,以此揭示汉语演唱少数民族题材歌剧的典型形态。关注内蒙古少数民族题材汉语歌剧的基本构成特点与文化特征,这对于认识多民族国家文化艺术的特殊性与内在统一性具有借鉴意义。

The creation of Han Chinese opera with Inner Mongolian ethnic themes demonstrates adherence to the established form,characteristics,and expressive language of opera art.Simultaneously,it incorporates elements of Chinese ethnic folk music and distinctive Mongolian musical elements,as well as folk culture and more.Consequently,these works exhibit distinctive characteristics of multicultural fusion.This paper focuses on the creation of Han Chinese opera with Inner Mongolian ethnic themes,with specific attention to four opera works produced after 1978:"General Sabu Su," "Shagde'er," "Princess Yelan," and "General Shelang." These works are regarded as a unique type of ethnic opera with significant cultural significance.Drawing upon the theory of cultural fusion and unity in diversity,this paper analyzes the tonality,musical structure,vocal style,and instrumental composition employed in the musical creation of these operas.By doing so,it aims to illuminate the multicultural fusion features present within them and reveal the typical forms of Han Chinese opera performances with ethnic themes.Through an examination of the fundamental characteristics and cultural features of Han Chinese operas with Inner Mongolian ethnic themes,this study contributes to a deeper understanding of the unique and inherent unity of multicultural ethnic arts.