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文革结束后,黄梅戏迎来了第二个春天,涌现出了大量优秀的黄梅戏作品。其中以男角为主的男腔戏却屈指可数,处于主导地位的仍然是以女角为主的女腔戏。正因如此,如今黄梅戏也被渐渐赋予了“阴柔之美”的定义。那么,现代黄梅戏男腔发生了怎样的变化呢?其特征又如何呢?本文将以2009年上演的《李四光》这部黄梅戏作品中的男平词唱段为研究对象,从调式、旋律、节奏三个方面来分析现代黄梅戏中男腔的特征。
After the Cultural Revolution ended, Huangmei Opera ushered in the second spring, emerged a large number of outstanding works of Huangmei Opera. Among them, male-dominated men’s opera is one of the most prominent and is still dominated by female horns. Because of this, now Huangmei Opera has also been gradually given “the beauty of femininity ” definition. So, what is the characteristic of the modern Huangmei opera men’s cavity? What is the characteristic? In this paper, we will take the male flat phonetic transcription of “Li Siguang”, which was staged in 2009, as the research object, Analysis of the characteristics of the male chamber in modern Huangmei opera.