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所谓京剧大锣的科学分工及运用,说到底就是大锣的音区划分及内在的表现规律。这是笔者通过三十多年的艺术实践,深切感到的一个值得广大打击乐工作者研究、解决的问题。目前京剧所使用的大锣,已从原有的四面锣(即小光、中光、大光、大片锣)发展到八面锣,即从最低音的大片锣到最高音的小光锣。经笔者测试和标记,每面锣之间是以平均两度的相对音高而形成的一组具有两个八度音域、独特音色标准和表现力相当丰富的乐器。为了使这组乐器所具有的表现力在京剧表演艺术中得到充分的发挥,以提高与
The so-called Peking Opera gong’s scientific division of labor and use, in the final analysis is the gong’s sound zone division and the inherent performance of the law. This is the author through 30 years of artistic practice, deeply felt that a large number of percussion workers should study and solve the problem. At present, the grand gongs used by Peking Opera have been evolved from the original four-sided gongs (that is, Xiaoguang, Zhongguangguang, Daiguang, large gongs) to eight-sided gongs, namely the gongs with the lowest bass to the gongs with the tallest tones. Tested and marked by the author, each gong on each side is an average of two relative pitch and form a set of two octaves, unique tone standard and expressive very rich instruments. In order to make this set of musical instruments have the expressive power in Peking Opera performed fully in order to improve and