戏曲唱腔

中国戏曲唱腔曲体界定的否定之否定

The " Negation of Negation " of the Definition of Music form in Chinese Opera Singing

第三章重点论述了中国民族声乐对戏曲唱腔、表现手法、演唱技巧以及表演艺术等诸方面的借鉴，并结合相关实例进行分析和论证说明戏曲艺术对民族声乐产生的影响。

Chapters four is focuses on the Chinese Vocal Music in the opera singing , performance techniques , singing skills and the performing arts and other aspects of the draw , combined with analysis of related examples and demonstrate that Operas on the impact of national vocal music .

戏曲音乐中唱腔与伴奏的关系问题

Relation between Singing and Accompaniment in Drama Music

戏曲音乐中的唱腔与伴奏，彼此相辅相成，相得益彰，既对立又统一地构成了戏曲音乐的主体。

Singing and accompaniment in drama music supplement and complement each other and they make up the main body of drama music .

本文试图通过对中国传统戏曲艺术中京剧唱腔与美声唱法进行比较研究，从而探索科学、合理、有效的演唱方法，促进中国声乐艺术更好的发展。

This article makes a attempt to compare the Peking Opera singing which belongs to the Chinese traditional opera art with bel canto singing so as to explore the scientific , reasonable and effective method to promote the development of Chinese vocal music better .

中国京剧是对中国戏曲文化的传承，荟萃了中国戏曲音乐、唱腔、舞蹈、表演艺术的精华，是中国戏曲艺术的代表剧种。

Beijing Opera is a cultural tradition of Chinese opera , the renowned Chinese opera music , singing , dancing , the essence of the performing arts , is the representative of the art of Chinese opera drama .

本文以戏曲音乐的腔形变化作为一般性探索对象，并试图以黄梅戏为例揭示戏曲音乐唱腔形态发展变化的规律。

The article intends to use the aria change of opera music as an exploration object , trying to take Huangmei Opera as an example to disclose the rule of aria change and development .