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传统京剧中,京胡伴奏唱腔的基本方法统称为“托腔”。从字面上看“托”就是伴,“腔”就是唱腔。可见“托腔”的总原则是以“唱”为主,“伴”为辅,决不能喧宾夺主。但这并不意味着京胡的“托腔”只是消极地、被动地去伴奏,而是恰恰相反,作为京剧“文场”伴奏乐队的“主奏乐器”,京胡的“托腔”是积极、主动而富于即兴弹性活动力的。因此京胡伴奏的“托腔”音乐是极其丰富的,京胡伴奏“托腔”的形式和手法也是多种多样的。而且,在京剧形成以来的发展过程中,经过无数前辈琴师、艺人从实践中的总结和提炼,发展出一些规律性的“法度”。这些规律性的京胡伴奏“托腔”手法,恰恰就是京胡伴奏独特的、最富于京剧剧种风格特征的伴奏艺术手段。
In traditional Beijing opera, the basic method of accompaniment of singing by Jinghu is collectively referred to as “supporting chamber”. Literally “care” is accompanied, “cavity” is singing. Visible “care cavity” The general principle is to “sing” the main, “with” supplemented, must not be overwhelming. However, this does not mean that Jinghu’s “support chamber” only accompanies negatively and passively. On the contrary, as a “main instrument” accompaniment band of Beijing Opera “Wenchang”, Jinghu’s “support chamber” is positive, Active and full of impromptu flexibility. Therefore, the music of “supporting chamber” accompanied by Jinghu is extremely rich. The forms and techniques of accomplishing “supporting chamber” by Jinghu are also varied. Moreover, in the process of the development since the formation of Beijing Opera, innumerable senior singers and artists have developed some regular “laws” from the summary and refinement in practice. These regular Jinghu accompaniment “care cavity” approach is precisely the unique accompaniment of the Jinghu, the most abundant style of Beijing Opera drama accompaniment of artistic means.