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在京剧的主要唱腔皮黄腔中,笙并不常作为伴奏乐器出现,但在京剧所吸收的昆腔、吹腔以及一些民间杂腔小调中笙则是不可或缺的一件伴奏乐器。在这些传统剧目中,笙以演奏旋律为主,主要起“融合音色”、“丰富色彩”和“托腔保调”的作用。在现代戏中,传统的小笙已无法满足伴奏乐队音域和音高拓展的需要,从而代之以新式的36簧高音笙。随着时代的发展,电子合成器在一定程度上可以取代笙在乐队中的地位,但由于笙音色的特殊性,其还有在京剧乐队中存在和发展的合理因素。
In Peking opera’s main aural skin, Sheng often does not appear as a accompaniment instrument. However, the opera chamber, blow-in chamber and some folk minor trumpets in the Peking opera are indispensable accompaniment instruments. In these traditional repertoire, Sheng plays the melody mainly from the “fusion tone”, “rich color” and “care”. In modern drama, the traditional Xiao Sheng has failed to meet the needs of accompaniment band expansion and pitch, which replaced the new 36-spring treble Sheng. With the development of the times, the electronic synthesizer can replace Sheng’s position in the band to a certain extent. However, due to the particularity of Sheng tone, there is still a reasonable factor that exists and develops in Peking Opera band.