戏曲音乐历来存在着如何继承传统与革新创造的问题,两者既统一融合,也存在着矛盾冲突,这些关系很少受到戏曲音乐理论界的重视,人们只习惯用单一的标准来鉴别评判戏曲音乐作品的成败.由于各个年代的观众欣赏习惯不同,剧作风格、导演追求、演员流派特色各异,这就要求戏曲音乐设计的艺术手法或角度也是多样的,或全盘继承传统音乐、或继承中加以改造,或较大幅度地改革创新,但归纳起来无非是两种标准,一种是继承(或侧重于继承)传统音乐的创作手法,可称之为“转统型”,另一种是仅把传统音 Traditional Chinese music has always existed the problem of how to inherit traditions and create innovations. Both of them are integrated and contradictory. These relations are seldom touched by the theory of opera music and people are only accustomed to using a single standard to identify and judge opera music The success or failure of the works.Due to the different audiences’recognition habits in all ages, the style of the play, the pursuit of the director and the characteristics of the different genres of the actors require that the artistic methods or perspectives of the opera music design be varied, or the traditional music be inherited entirely, To reform, or more substantial reform and innovation, but summed up is nothing more than two standards, one is to inherit (or focus on inheritance) the creative approach of traditional music, which can be called “restructuring” and the other is Only traditional sound