《当代戏剧》1987年第五期载周仁杰《戏曲锣鼓要敲打出剧种特色》。文章认为,如今打开收音机,单听戏曲锣鼓,难辨其究竟是何剧种。目前好多地方戏曲都在蓬勃地发展,可是在锣鼓方面却一味地走横向借鉴之“捷径”,尤其是对京剧舞台积多少年来实践之大成的“锣鼓经”,随意地搬来我用。如把京剧武场中“钮丝”、“凤点头”、“走马锣鼓”、“四击头”、“水底鱼”等锣鼓点子直接套在自身的打击乐里,开唱又往往用“长锤”、“夺头”等那些习已成俗的东西。在吸收的过程中没有考虑到与本剧种的 “Contemporary Drama” in 1987 fifth issue of Zhou Renjie “Opera percussion to knock on the drama characteristics.” The article believes that now open the radio, listen to percussion alone, it is difficult to distinguish what exactly opera. At present, many local operas are booming. However, in the areas of percussion and gongs, they have always taken the “shortcut” of horizontal reference, especially the “percussion scriptures” that have become the culmination of years of practice in the Beijing Opera stage. Such as the Peking Opera Wuchang “button wire”, “Fong nodded”, “gongs and drums”, “four hit the head”, “underwater fish” and other percussion directly set in their percussion, opening and often use “long hammer ”,“ Winner ”and other things that have become customs. In the absorption process did not take into account with the opera