论文部分内容阅读
湖南花鼓戏作曲家张国辉在谈《补锅》的音乐创作时,曾提出花鼓曲调改革的三条标准:有花鼓味,感情准确,旋律优美。二十年过去了,这话虽仍正确,但毕竟时代不同了,对于旋律优美的标准,随着时间的推移,又有了不同的认识。去年年底,报纸刊载了在长沙市进行的调查材料,有的观众认为“花鼓戏太吵”。花鼓戏《八品官》到北京演出,对音乐的反映是改革太少。在花鼓剧院的宿舍中,演职员的子弟大部分对父母从事的花鼓戏没有兴趣。这些就是对花鼓戏音乐的尖锐的批评,花鼓戏的存亡就有待于扭转这种难堪的局面。
Zhang Guohui, a Hunan flower-drum opera composer, talked about the three criteria of the hubble tune reform when it comes to the music creation of “upset pots”: a drumstick taste, an accurate feeling, and a beautiful melody. Twenty years have passed. Although these words are still correct, the times are different after all. For the beautiful melody standards, they have had different understandings over time. The end of last year, the newspaper published in the survey conducted in Changsha City, some viewers think “hubble drama too noisy.” Huagu opera “eight product officer” to perform in Beijing, the reflection of the music is too little reform. In the dormitory of the Hubu Theater, most of the actors’ children are not interested in the flower-drum drama played by their parents. These are the sharp criticisms of the Huagu opera music. The existence of the Huagu opera has yet to be reversed in this embarrassing situation.