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双语推荐:唱腔特色

本文以大新高腔山歌为例,从壮族高腔山歌的唱腔起源入手,从其呼吸状态、咬字吐字、声调的特点、装饰音腔及衬词运用来研究唱腔特色艺术,从编段技艺,丰富内容以及社会需求,研究壮族高腔山歌唱腔的未来发展等,论述祖国的这朵民族艺术之花,经久不衰,受众热爱的源泉,希望通过本文得到社会关注,壮族高腔山歌应注入现代艺术素养、科学技术,助推其更好地发展。
Taking Daxin high-tune folk songs for an example, starting from the origin of high-tune folk songs of the Zhuang na-tionality, this paper researches its future development from sev-eral aspects, hoping to arouse its attention and promote its better development through infiltrating modern artistic accomplishment, science and technology.

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辰河高腔主要的伴奏乐器为唢呐、笛子、备子、京胡、二胡、三弦、大鼓、小锣、云锣、钹、小鼓、大桶鼓、课子、尺板等,其首要任务是为唱腔伴奏,起着烘托气氛的作用,它们是形成这一剧种和声腔特色的重要组成部分,同时又是区别于其他剧种的重要标志。特制的辰河高腔唢呐发音柔和,音色优美,能与唱腔融为一体,在伴奏中起着特殊作用。近年来,辰河高腔伴奏乐器有了很大的发展,增加了琵琶、扬琴等乐器,尤其是乐队的出现,在配器手法上对西洋管弦乐队配器有所借鉴。
The main pitched-tune accomplishment instruments of River Chen includes suona, flute, beizi, jinghu, erhu, three-stringed, drums, small gong, Chinese gong chimes, cymbals, tambourine, drum drum, lesson son, foot board, etc. Its primary role is to play music for singing to set up the atmosphere, an important part of the related drama type and tune and a symbol to distinguish itself from other drama types. The specially made pitched-tune suona of River Chen can play soft and agreeable music and integrates well with singing tune, and thus plays an important role in accomplishment. In recent years, the accomplishment pitched-tune music instruments of Chen River have developed to include pipa, harp and so on. With the emergence of band, their orchestration has borrowed some useful techniques from the western orchestra instruments.

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柳琴戏是我国传统戏曲之一,有独特的艺术特质,本文对苏北柳琴戏的唱腔、节奏、板式、配器、剧目等进行浅析。作为国家级非物质遗产之一,苏北柳琴戏在长期发展过程中吸收了各种姊妹艺术特色,并与苏北人民群众的生活密切联系,成为一种地域文化的载体,受到苏北人的喜爱。
Liu-chin drama is one of Chinese traditional opera, has a unique artistic characteristics, in this paper, the Subei Liu-chin show of singing, rhythm, plate type, instruments, documents of were analyzed. Subei Liu-chin play as one of the state-level non-material heritage, in the process of long-term development absorbed various sister artistic features, and closely connected with Subei people''s life, become a kind of carrier of regional culture, Subei people''s affection.

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怀梆是流行于河南"古怀庆府"一带古老的地方剧种,形成于明末清初,距今已有三百多年的历史,怀梆戏曲艺术以其深厚的文化积淀、独具地方色彩的唱腔韵味,在2006年5月,成功列入了首批"国家非物质文化遗产"的保护名录,成功的扩大了怀梆的艺术影响力。本文详细的研究了怀梆艺术的起源和形成,论述了怀梆戏曲艺术的形成特色,为科学的保护和传承这笔宝贵的文化财富提供一定的借鉴意义。
Huaibang is popular in Henan"ancient Huaiqing palace drama", formed in the late Ming and early Qing Dynasty, dating back more than 300 years of history, the Huai Bang opera art with its profound cultural accumulation, the unique local color aria charm, was listed in the first batch of"national intangible cultural protection heritage"in 2006 May, to expand the influence of huaibang arts. This paper studies the origin and formation of huaibang arts, discusses the formation characteristics of Huai Bang opera art, provide a reference for the scientific protection and inheritance of the precious cultural wealth.

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《驯悍记》自1913年以来就被我国戏曲改编,最近一次改编是2013年11月武汉汉剧院推出的同名汉剧。对比汉剧《驯悍记》与同名原著在人物行当设置、唱词与唱腔、文化植入等方面的异同,可以发现汉剧改编在保留原著"悍味"的同时,巧妙地追求与原著的美学对等。汉剧《驯悍记》改编的成功,说明只有在莎剧框架内彰显剧种风格,与原著各显特色,才能达到戏曲移植改编莎翁名著的目的,解决容量不对等的难题。
TheTamingoftheShrewhas been staged in the traditional Chinese theater since 1913, the most re-cent production, bearing the same title, by the Wuhan Hanju Theater Company in Nov. 2103. This article compares the hanju opera adaptation and its original with a perspective into the cast, libretto, aria and cultural assimilation. The author has evaluated the opera’s smart concerns to portrait the shrew and achieve aesthetic equivalence between the original and the adaptation. The success helps to conclude that a sure way to sinocize the Bard and streamline the o-riginal would be to highlight the virtuosities of the genre in the new context.

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