论文部分内容阅读
长期以来,我国音乐界用简谱体系来标记戏曲(特别是梆予皮黄系统)“紧打(拉)慢唱”的演唱形式问题,一直未能妥善解决。现行出版物在记写“散打散唱”和“紧打慢唱”这两种不同演唱形式时,均以散打散唱符号(艹)标记。这在谱面上既显示不出它们之间的区别,也反映不出两种不同的伴奏方式及其实际艺术效果。经过多年思考和反复试验,我于1981年创造了两个拍号((?)、(?)),专门用来标记戏曲中“紧打(拉)慢唱”的演唱形式。此二拍号的用法及要求,我曾在《群众艺术》1981年第4期和《中国戏曲音乐集成·陕西卷》撰文作过介绍。
For a long time, our music industry has used the notation system to mark the singing form of “tight strike (slow) singing” of the opera (especially the yellow skin system) and has failed to properly solve the problem. The existing publications are marked with Sanda (艹) when they are written in two different forms of singing, “Sanda SONG” and “TACO SONG”. This shows neither the difference between them nor the two different accompaniment patterns and their actual artistic effects. After years of thinking and trial and error, I created two time signatures ((?), (?)) In 1981 to mark the singing style of “tight beating (slow) singing” in the drama. The usage and requirements of the second time signature were introduced in “The Art of the Mass”, No. 4, 1981, and “The Chinese Opera Music Integration, Shaanxi Volume”.