秦腔音乐在声腔上存在的最突出问题,就是男声的唱腔。由于音域过窄,音区过高,唱腔旋律单调,贫乏;演唱方法粗糙,陈旧,发声极不科学。造成此种现象最根本的原因,是由于男女声“同腔同调”之弊。所谓“同腔同调”,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。这就迫使男声在演唱时,竭尽全力,硬挣高嚎,沙哑之声,不堪入耳。这种违反男声正常声区的现象,多少年来一直没有得到解决。从而使许多有表演才华的男演员,因不适应现有的男声唱腔和调门,丧失了艺术生命。男声问题已经成为秦腔音乐改革中的矛盾焦点,解决好男声的唱腔,对于秦腔声腔艺术的发展,有着深远的意义。 Qin chamber music in the voice of the most prominent problem is the male voice singing. Due to too narrow range, the sound zone is too high, singing melody monotonous, poor; singing rough, old, very unspeakable sound. The most fundamental reason for such a phenomenon is the consonance between male and female voices in the same cavity. The so-called “same cavity with the same tune,” is the male voice with high octave and female voice in the same tune, with the same basic melody singing. This forced the male voice to make every effort, hard earned high howl, hoarse voice, unbearable. This phenomenon of violating the normal sound area of ​​male voice has not been solved for many years. As a result, many of the actors who have shown their talent for acting have lost their artistic life because they are not suited to the existing male singing and adjusting their voices. The issue of male voice has become the focus of contradiction in the reform of the music of the Qin Dynasty. Solving the singing of the male voice has far-reaching significance for the development of the sound art of the Qin Dynasty.