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历史的缘故形成豫剧传统戏二本腔与女声同腔同调演唱。由于性别的不同,在演唱时男女声自然音区是相差四、五度的关系。改革后的二本腔旋律应回归到男性自然最佳音域范围,同时,借鉴京剧实行科学的男女分腔。由于男女分腔后调式旋律的改变,必然会带来演唱方法的变革。我们设想改革后的二本腔运用真声和真假声结合的发声机能,利用发“龙音”、“堂音”、“虎音”的共鸣位置,唱出既高亢激越明亮,又具有统一真声色彩、充满男性阳刚之气的声音效果。然而,一个剧种行当的声腔改革并非是一蹴而就之事,它牵扯的因素复杂多样,要把这些设想变为现实,需要在改革实践中把握着以下几点创新原则,即:符合客观规律原则;纵向继承横向借鉴原则;尊重观众引导观众原则。
History of the formation of the traditional opera opera opera two cavity and female voice with the same concert. Due to the difference of sex, when singing, the natural sound zone of the sound of men and women is a difference of four or five degrees. After the reform of the melody of the two melodies should be returned to the range of men’s best natural range, at the same time, draw on the practice of Beijing opera male and female sub-cavity. As the men and women after the sub-cavity tune melody changes, will inevitably bring about changes in singing methods. We assume that after the reform, the two cavities will use the sounding function of combining true and false sounds with the resonant position of “Dragon Sound”, “Dang Yin” and “Tiger Sound” to sing both high-pitched Brilliant and bright, but also has a unified true color, full of male masculinity of the sound effects. However, the reform of the acoustics of a drama is not a one-way task. The factors involved in it are complex and diverse. To make these ideas into reality, we need to hold the following innovative principles in the practice of reform: the principle of objectivity and objectivity; Inherit the principle of horizontal reference; respect the audience to guide the audience principles.