戏曲音乐

许如辉与中国现代戏曲音乐

XU Ru-hui and his Relation with Chinese Modern Local Opera Music

戏曲音乐若干基本概念界说

On definition of some basic concepts of opera music

三谈福建戏曲音乐的写作问题

A Third Discussion on the Composition of Fujian Theoretical Music

中国古代戏曲音乐的历史流变

The Transformation of the Traditional Operatic Music in Ancient China

戏曲音乐的抒情性与叙事性

The Lyric and Narrative Characters of The Music in the Traditional opera

论戏曲音乐发展的五个时期

The Five Stage In Development Of The Traditional Chinese Opera

戏曲音乐的主体是声腔艺术，而戏曲声腔艺术，则萌芽于金、元时期的北曲与南戏。

The art of operatic tune is the main part of operatic music .

论现代戏曲音乐板式的发展

On the Development of Styles in Modern Opera Music

论戏曲音乐板式变化体节奏思维形成的渊源及其成因

Origin and Cause of the Transformational Rhythm Idea in the Traditional Drama Music

现代戏曲音乐创作的特点

On the Characteristics of Music Composition of Modern Opera

戏曲音乐中唱腔与伴奏的关系问题

Relation between Singing and Accompaniment in Drama Music

戏曲音乐从宋代至今历经了三次历史性的重大变革。

The music of Chinese Drama has experienced three significant historic revolutions since Song Dynasty .

戏曲音乐元素在中国钢琴音乐中的运用

Drama Element in Chinese Piano Music Utilization

体现了中国戏曲音乐紧拉慢唱的形式与打击乐伴奏节奏型、少数民族舞蹈性节奏及民族吹打乐节奏；

Have manifested Chinese drama music " tightly pulls slowly sings " and percussion instrument accompaniment rhythm ;

除此之外，金庸小说还采用了富有中国传统戏曲音乐特点的叙事节奏从而产生节奏对比与烘托，造成生动丰富的审美效果。

In addition , his novels also use the narrative rhythm which featured of traditional Chinese opera music .

中国文人作为劳动人民的一部分，在民间歌舞、说唱音乐、戏曲音乐、器乐及综合性乐种等传统音乐的传承与发展中起着积极的、不可替代的作用。

And Chinese intellectuals played an important role in the folk dance , music , drama and music instruments .

是中国歌剧史上，首次运用戏曲音乐的手法写成的歌剧。

In the history of Chinese opera , this is the first use of the technique of opera music .

中国戏曲音乐极为丰富，不仅历史悠久，且覆盖面极大，尤其是大量的曲牌音乐。

Chinese Opera music , especially the tune music , is extremely colorful and splendid with its a long history .

戏曲音乐腔形变化的一般性探索&以黄梅戏的音乐为例

An Elementary Study on the Change of Aria in Opera music & The music of Huangmei opera as an example

演员创腔，体现的是中国民间音乐与传统戏曲音乐的创作方式与手法。

The composition of performer embodies the way and technique of creation of Chinese folk music and traditional Chinese opera music .

地方民间音乐传承新路探索&临川戏曲音乐引入视唱练耳课堂教学

A New Way of Inheriting Local Folk Music & Introducing Linchuan Opera Music to the Teaching of Sight-singing and Ear Training

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 .

论证章节如下：第一章，戏曲音乐的戏剧性审美特征。

The thesis contains five main chapters : The content of Chapter one is about the dramatic aesthetic characteristics of opera music .

梳理出该剧中使用的音乐创作手法，尤其是创造性地借鉴戏曲音乐中的技法。

Music creation technique used to tease out the play , especially in a creative way to learn techniques in opera music .

文章将戏曲音乐的发展分为五个时期进行剖析，论述了每个时期的每种声腔产生与发展的必然性。

The article divided the history of traditional Chinese opera in five stages , and discussed individual opera tunes arise and developing in each stage .

所确立的三分法为中国戏曲音乐各种板式的归类，阐明了实践与理论依据。这里用概括的方式对中国戏曲演唱艺术品种的共性作了概括。

The three-type dividing method provides both practical and theoretical basis for the division of various types of beats in music of traditional Chinese opera .

戏曲音乐是中国传统音乐文化宝藏的一角，有着悠久的历史渊源和极高的艺术价值。

Opera music is one horn of the traditional Chinese music cultural treasures , and it has a long history origin and high artistic value .

戏曲音乐按照自己的特殊规律，采用了一曲多用的创作方法。

Music of local operas adopted the method of " yi qu duo yong "( one melody with various appliances ) according to its own special law .

本文正文由戏曲音乐研究和中国古代音乐史研究上下两篇组成。

The thesis is consisted of two parts , " the study of Chinese Theatrical Music " and " the study of Chinese Ancient Music History " .

通过本文的论证，以期能从历史的经验教训与得失中探索一条戏曲音乐可资借鉴的发展道路。

Through all the demonstration in this thesis , we hope to find a way for the development of Chinese Drama music according to the historical experience and lessons .