秦腔音乐的悲剧成因——秦腔板胡演奏中的悲剧情境烘托

发布时间：2018-02-11 18:07

  本文关键词： 劝善调 悲怆 忧患 生存环境　出处：《戏曲艺术》2014年02期 　论文类型：期刊论文

【摘要】：秦腔自古以悲怆型剧目和哭音唱腔见长,形成悲怆型剧目和哭音唱腔的根源来源于秦人根深蒂固地忧患意识与苦焦、艰难的生活环境。剧目且多以军国大事的世俗化表现为主,其中行当性表现又以正生的慷慨悲歌、苍凉豪放、激昂陈词为主;秦腔声腔来源于悲情的"劝善调"音乐,原始秦腔以弹拨乐器为伴奏乐器,近代以来,秦腔主奏乐器板胡经过近代改进,形成了高亢激越清脆悦耳的谐音,与秦腔的声腔在伴奏中相辅相成,起着烘托唱腔,为演员包腔托韵的作用。
[Abstract]:Since ancient times, Qin Opera has grown in terms of pathos and crying vocals, the root of which is rooted in the deep-rooted suffering consciousness and suffering of the Qin people, and the difficult living environment. The repertoire is dominated by the secularization of the great national events of the army. Among them, the professional performance is characterized by the vigorous and generous songs, desolation and boldness, and exaltation. The voice of the Qin Opera comes from the sad music of "dissuading good tune", and the original Qin tune is accompanied by plucked musical instruments. Since modern times, the original Qin tune has been accompanied by plucking instruments. After the improvement of modern times, Banhu, the main instrument of Qin Opera, has formed a strong, crisp and melodious homophony, which complements the accompaniment of Qin cavity and plays the role of setting off the singing cavity and supporting the rhyme of the actor's enclosing chamber.
【作者单位】： 西安电子科技大学人文学院艺术系;
【分类号】：J825
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本文编号：1503672