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通过对京剧唱腔音乐的分析研究发现,相对高点的音为逻辑重音。逻辑重音规律不受汉语四声音调和辙韵的限制与影响。根据旋律中,音程关系进行——正音的音程跳进、级进、同音反复、装饰音等等的不同,节奏型——切分音、符点音符、相等时值音符律动等变化而变化。上行渐强下行渐弱的音乐表现规律,在京剧唱腔演唱过程中显示的最为突出并成为一种自然的传统规律。研究京剧音乐的“逻辑重音”规律,能够帮助京剧专业与非京剧专业人士从新的角度认识京剧音乐并更快、更好地了解和掌握京剧音乐语言规律,帮助非京剧专业人士解除对京剧音乐语言的神秘感。
Through the analysis of Peking Opera aria music found that the relatively high point of the sound as a logical stress. The law of logic stress is not restricted and influenced by Chinese four tones and rhymes. Depending on the melody, the relationship of the intervals varies depending on the pitch of the orthographic sound, the progression of the sound, the repetition of the homophonic sound, the difference of the decorative sound, and the like, the rhythm pattern-segmentation sound, rudimentary music note, rhythm of equal time notes, The gradual decline of the upward downward trend of the music performance of the law, the opera singing in the process of singing the most prominent and become a natural traditional law. Studying the law of “logical stress” of Beijing opera can help Peking opera professionals and non-Beijing opera professionals understand Peking Opera music from a new perspective and understand and master the language rules of Beijing opera more quickly and effectively, and help non-Peking opera professionals to lift Peking opera The mystery of music language.