拜读了肖炳同志的《秦腔声腔改革尝试》一文(见《陕西戏剧》1984年10期),颇受启发与教益。但是,也不乏值得商榷之处,如对秦腔男声“音域”的看法,我就不敢苟同。在解释何谓秦腔男女声“同腔同调”时肖炳同志说:“就是男声用高八度与女声在同一调性上,用基本相同的唱腔旋律进行演唱。”为了进一步论证自己的观点,他又列出男女声总音域与常用音区对比表,说明男声演唱的音 Read the comrade Xiao Bing “Qin cavity accent reform attempt” one article (see “Shaanxi drama” 1984 the tenth period), very inspired and lessons learned. However, there is no shortage of debates. For example, I would not agree with the views of the “vocal range” of the male voice of Shaanxi Opera. Explaining what Qin’s men and women voiced as “identical with each other”, Xiao Bing said: “That is, the male voice sings in the same tune with the female voice in the same tune and uses the same basic melody.” To further demonstrate his point of view, Also listed male and female voice total area and the common voice area comparison table, indicating the male voice singing