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戏曲音乐工作中的定腔定譜問题,久为演員、乐师和作曲者所关心。《上海戏剧》于1961年7—8期、10期和1962年2期发表了三篇文章,就这个問题进行了研究和討論。陈捷在《对戏曲音乐如何定腔定譜的一些看法》的文章中,主张采取定腔定譜的方式来解决唱腔,曲譜的流传、继承和发展,以及发揮乐队及乐器的性能。她說,在旧社会,由于种种条件的限制,許多演員缺乏掌握音乐文字的能力,只能把唱腔和伴奏音乐記在心里,因此只有心里的譜,沒有成文的譜;时日一久,事过境迁,記忆力不好的就必然会忘記一部分,即使記忆力好的也很难記全,这就使某些剧目的唱腔、曲調不能留传下来,得到继承、
The fixed-set questions in opera music have long been of concern to actors, musicians and composers. Shanghai Theater published three articles in the 7-8th, 10th and 1962-2th periods of 1961, and studied and discussed this issue. In his article “Some Opinions on How to Determine the Sounds of Traditional Chinese Opera”, Chen Jie advocated the adoption of definite spectroscopy to solve the problem of the spread, inheritance and development of singing and music scores, as well as the performance of bands and musical instruments. She said that in the old society, due to various constraints, many actors lacked the ability to master music and could only record singing and accompanying music in their hearts. Therefore, only the inner spectrum and the unwritten spectrum were out of context. Over time, Ineffective memory will inevitably forget some, even if the memory is also very hard to remember the whole, which makes some repertoire of singing, melody can not be left down, be inherited,