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(三)60年代中期到70年代后期—— 革胡共鸣结构不断完善阶段(续) 2.“文革”期间教学停顿,文艺团体也停演了,革胡的推广、应用受到限制,但杨雨森先生革胡的改革研制工作却一直未间断过。此间他在64型革胡的基础上多次对协振结构进行调整,设计有全板协振鼓共鸣的,也有不用皮膜作为主振面的,即杨先生称之
(C) from the mid-1960s to the late 1970s-the phase of continuous improvement of the structural resonance of the revolution (continued) 2. The teaching was halted during the “Cultural Revolution” and the cultural and art groups also ceased to exist. The promotion and application of the reform was restricted. However, Mr. Ge Hu reform and development work has been uninterrupted. Here he based on the 64-type leather on the basis of a number of changes in the coordination of the vibration structure design resonance vibration drum full resonance, there is no film as the main vibration surface, which Mr. Yang said