旧腔沿用与戏曲音乐的历史进化

The Continuation of Traditional Tunes and the Historical Evolution of Xi Qu Music

戏曲音乐的创作一直是以沿用旧腔为基础,这种做法对于应付大量编演新戏的需求来说有很大的便利,但腔调的重复使用又有不小的弊病,而且不重视原创,必然对戏曲音乐的发展高度形成很大制约。艺人在戏曲音乐创新方面也付出过很大的努力,20世纪50-70年代提倡编演新戏(尤其现代戏),戏曲音乐中的原创成分更大幅度增加。20世纪80年代后基于保存“传统”和维系“剧种特色”的理念,旧腔在新戏中的比重又明显上升。但“半新不旧”的戏曲音乐很难吸引现今时代的观众,戏曲音乐创作落后于时代的状况越来越突出。新戏音乐的新、旧比例,最终应以广大观众的欣赏需求作为基本依据。

The creation of Xi Qu music has always been based on the continuation of traditional tunes,a practice that is convenient for producing a large number of new plays but comes with significant drawbacks,including a repetitive use of melodies and a lack of emphasis on originality,which inevitably greatly restricts the development of Xi Qu music.Performers have made considerable efforts in innovating Xi Qu music,especially from the 1950s to the 1970s,when there was a push for creating new plays(particularly modern ones),leading to a significant increase in the original components of Xi Qu music.After the 198Os,based on the concept of preserving"tradition"and maintaining"genre characteristics,"the proportion of traditional tunes in new plays has risen noticeably.However,Xi Qu music that is neither completely new nor old struggles to attract contemporary audiences,and the issue of Xi Qu music creation falling behind the times is becoming increasingly prominent.The proportion of new and tradition in new Xi Qu music should ultimately be based on the appreciation needs of the general audience.