日常生活中的“偷”与“抢”都是贬义词,但在戏曲等艺术中却不尽然:一是这两个字的涵义起了变化,均非指对财富的偷劫与抢夺,而是指某种艺术技巧或与艺术有关的行为;二是除“抢”字一般仍具有贬义外,“偷”字已换成褒义。现具体陈述如下: 偷曲:由于我国古代记谱法不完善,对音乐的传承主要依靠口传心授,加上艺人观念保守,只传艺徒或知音,不传外人,至使不少有志于习艺者被迫处于偷学状态。唐代梨园子弟为了技艺的长进及老年的生计,就盛行偷曲。王建诗云:“梨园弟子偷曲谱,白头人间教歌舞”便足以说明。杰出笛师李暮就曾偷学过唐玄宗李隆基的乐曲。大将军韦青的歌妓张红红 The “stealing” and “grabbing” in daily life are both derogatory terms, but they are not always the same in the art of opera. First, the meaning of these two words has changed, not referring to the robbery and snatch of wealth, but rather Refers to a certain kind of artistic skills or art-related behavior; second is in addition to “grab” the word is still generally derogatory, the “steal” has been replaced with commendatory. Now specifically states as follows: Steal song: As the ancient notation of ancient notation, inheritance of music depends mainly on oral tradition, coupled with the conservative concept of the artist, only to pass the art or knowledge, not to pass on outsiders, so that a lot of interested in learning He was forced to steal the state. In the Tang Dynasty Liyuan children in order to improve the skills and elderly livelihoods, the prevalence of stealing song. Wang Jian Shi Yun said: “Liyuan disciples steal music scores, bald human singing and dancing” will suffice. Outstanding flute teacher Li Twilight had stolen Tang Xuanzong Li Longji’s music. The big general Wei Qing’s singer Zhang Honghong