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戏曲必须将音律和谐的艺术特征体现于演唱中,达到“入律”、“美听”、“声之和”的要求,才可成为“可歌之曲”,完美和充分地表现情境。音韵的使用是有其规律的。刘勰在《文心雕龙·音律》中说: 凡声有飞沉,响有双叠。欢声隔字而每舛,叠韵离句而必睽;沉则响发而断,飞则声扬不还,并辘轳交往,逆鳞相比。……是以声画妍蚩,寄在吟咏,滋味流于下句,气力穷于和韵。异音相从谓之和,同声相应谓之韵。
The opera must embody the harmonious artistic features of the music into the concert. It can meet the request of “entering the law”, “beauty hearing” and “sound harmony” before it can become the “song of the song” and show the situation perfectly and fully. The use of phonology has its own laws. Liu Xuan in the “Wen Xin Diao Long tone” said: Where there is sounding Shen, ring with a double stack. Huan every word, every word, stack rhyme from the sentence will inevitably; Shen then ring off, the fly is not sound aloud, and the tackle, compared to the inverse scales. ... ... is the sound of Yan Ye, sent in the chant, the taste flows in the next sentence, poor strength and rhyme. Abnormal phase from the so-called harmony, corresponding to the corresponding rhyme.