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近代戏曲音乐发展的审美倾向,在于表演艺术家纷纷“把观众唱高兴了就是好的”①效应作为追求目的,又与民众精神品格的吻合赢得广大艺术市场,加上传承的必然性,最终走向音乐表现以人物演出效果为参照对象,符合观众审美需求的音乐发展轨迹。京剧音乐在展开的很大程度上受到制约,形成相对固定约定俗成的运动形式,一个明显的特征就是在戏曲舞台表演的过程中互相补充、互为映衬的平衡性特点。其特殊音乐细节的装饰性以及多变的旋律处理,与演员演唱的个性色彩相加,使平衡作用下的音乐相对舒展。
The aesthetic tendency of the development of modern Chinese opera music lies in that the performing artists have “good at singing the audience.” ① As the pursuit of the goal, the effect is also in line with the spirit of the general public, which wins the vast art market and the inevitability of inheritance. Music performance to the performance of people as the reference object, in line with the aesthetic needs of the audience music development track. Peking opera music has been restricted to a great extent and formed a relatively fixed form of movement. An obvious feature is that it is a balanced feature that complement each other and each other in the process of opera stage performances. The special musical details of the decorative and varied melody processing, and the individual character of the actors singing together, so that the balance of music under the relative stretch.