本文關(guān)鍵詞： 勸善調(diào) 悲愴 憂患 生存環(huán)境　出處：《戲曲藝術(shù)》2014年02期 　論文類型：期刊論文

【摘要】：秦腔自古以悲愴型劇目和哭音唱腔見長(zhǎng),形成悲愴型劇目和哭音唱腔的根源來(lái)源于秦人根深蒂固地憂患意識(shí)與苦焦、艱難的生活環(huán)境。劇目且多以軍國(guó)大事的世俗化表現(xiàn)為主,其中行當(dāng)性表現(xiàn)又以正生的慷慨悲歌、蒼涼豪放、激昂陳詞為主;秦腔聲腔來(lái)源于悲情的"勸善調(diào)"音樂(lè),原始秦腔以彈撥樂(lè)器為伴奏樂(lè)器,近代以來(lái),秦腔主奏樂(lè)器板胡經(jīng)過(guò)近代改進(jìn),形成了高亢激越清脆悅耳的諧音,與秦腔的聲腔在伴奏中相輔相成,起著烘托唱腔,為演員包腔托韻的作用。
[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.
【作者單位】： 西安電子科技大學(xué)人文學(xué)院藝術(shù)系;
【分類號(hào)】：J825
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本文編號(hào)：1503672