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嵊州“吹打”起源何时,没有确切年代记载。一些年长的村民说,“吹打”最早是以“万民伞”戏客班(又名嬉客班)的形式出现的。清光绪年间,嵊州一些村里组织了“万民伞”戏客班,后来慢慢地增加了乐器种类,这成了嵊州“吹打”的雏形。在嵊州,“吹打”乐队又以白泥坎村最具有代表性。众多乐器的使用、丰富的表演形式使白泥坎的民乐与普通的民乐有着较大的不同。1957年3月,白泥坎村民间“吹打”乐队昔京参加第二届全国民间音乐舞蹈汇演,民间器乐曲《夏雨》获得很大成功。汇演后,演员受到周恩来等老一辈党和国家领导人接见。上世纪50年代是白泥坎民间乐队的鼎盛时期, 《夏雨》被录制成唱片,还被编入上海音乐学院的教材。
Shengzhou “blow” when the origin, there is no exact record. Some older villagers said that “Blows” first appeared in the form of “Wan Min Umbrella” theater class (aka Hurricane class). Emperor Guangxu years, some villages in Shengzhou organized a “million people umbrella” theater class, and later slowly increased the type of instrument, which became the Shengzhou “blow” prototype. In Shengzhou, Baizhikeng was the most representative of Pak Nak Kan. The use of a large number of musical instruments, a wealth of performance forms Baikan Kham’s folk music and ordinary folk music are quite different. In March 1957, the white-beaten village folk “blew” the band Xi Jing participated in the second national folk music dance show, folk music “Summer Rain” was a great success. After the show, the actor was interviewed by Zhou Enlai and other elite party and state leaders. The 1950s was the heyday of the White Mudan folk band. “Xia Yu” was recorded as a record and was also compiled into the teaching materials of the Shanghai Conservatory of Music.