As the essence of Chinese traditional culture, opera music affects the development of traditional Chinese culture and traditional music. With the changes of the times, the opera music is learning from and integrating with the modern national vocal music in its development process. This article mainly discusses the development of the opera music and the modern national vocal music by taking the song Gong Linna's version of "Mountain Ghost" as an example. In this paper, the author uses the literature research method and the summary induction method to collect, review, compare and analyze the song “Mountain Ghost” and the historical literature of modern national vocal music and opera, and the video of Gong Linna’s singing version of “Mountain Ghost”. The audio is deeply analyzed in terms of pronunciation, voice chamber, stage performance, etc. The general conclusion is that the modern national vocal music and opera music are integrated in the four aspects of theme, aria, stage performance and accompanying instrument. Therefore, the singer is called to use dialectics to treat the integration and development of opera music and national vocal music.

戏曲音乐作为中国传统文化中的精粹, 影响着中国传统文化和传统音乐的发展。随着 时代的变迁, 戏曲音乐在其发展过程中与近现代民族声乐相互借鉴、融合。本文主要论 述的是以歌曲龚琳娜版≪山鬼≫为例, 刍议戏曲音乐与近现代民族声乐的发展与融合。 笔者在本文中使用文献研究法和总结归纳法, 通过收集歌曲≪山鬼≫以及近现代民族 声乐与戏曲的发展历史文献, 进行整理、查阅、对比分析, 以及对龚琳娜演唱版本≪山 鬼≫视频、音频在发音、声腔、舞台表演等方面进行深入分析, 总结论证近现代民族声 乐与戏曲音乐在题材、唱腔、舞台表演、伴奏乐器四个方面的相互融合。从而呼吁歌 唱者用辩证法看待戏曲音乐与民族声乐的融合与发展。

논문 소개
Abstract
前言
一、戏曲音乐和近现代民族声乐的历史沿革
    (一) 戏曲音乐的历史沿革
    (二) 近现代民族声乐的历史沿革
二、民族声乐与戏曲音乐的融合
    (一) 两者在唱腔上的融合
    (二) 两者字肢体语言上的融合
    (三) 两者在伴奏乐器上的融合
    (四) 两者在音乐题材的借鉴
三、歌曲≪山鬼≫中与戏曲音乐元素的融合
    (一) 歌曲≪山鬼≫的演唱者及作者简介
    (二) 歌曲≪山鬼≫创作背景
    (三) 歌曲≪山鬼≫的音乐内容
    (四) 歌曲≪山鬼≫中与戏曲音乐的融合
四、近现代民族声乐与戏曲音乐融合引发的思考
    (一) 在理性中相互借鉴
    (二) 在创新中继承
结语
References
摘要

• He Dan(Academy of Arts, Hubei Second Normal College,Wuhan,Hubei,China, Dongbang Culture University, Seoul, Korea) | 贺丹 (湖北第二师范学院艺术学院, 湖北武汉, 东方文化大学)