近年来,在评论黄梅戏的打击乐时,往往提到黄梅戏的打击乐有关表演的锣鼓经是京戏的,有损于黄梅戏的风格。作为从事黄梅戏打击乐二十多年的我,借此谈一点肤浅认识,以供专家、同行今后改革时的参考。不妥之处,请批评指正。 我童年所目睹的黄梅戏,正由“三打七唱”转向城市。乐队已具雏形,管弦乐刚用上高胡、二胡、筹和唢呐。打击乐有板鼓、堂 In recent years, when commenting on the percussion music of the Huangmei opera, it is often mentioned that the percussion performance of the Huangmei opera is a Beijing opera, which is detrimental to the style of the Huangmei opera. As engaged in the Huangmei opera percussion more than two decades, I would like to talk about a little superficial understanding for experts, peers, the reference for the future reform. Improper, please criticize correction. The Huangmei opera I witnessed in my childhood is being turned to the city from “three dozen sing”. The band has a prototype, orchestral Gaohu, erhu, raise suona. Percussion a drum, hall