诚然,人们对川剧音乐的横向借鉴问题已讨论了很多,我认为,概括起来不外有两个方面:一是向外的横向借鉴。即借鉴兄弟剧种、歌曲、歌剧、电影等外来艺术形式的特长。二是在川剧内部对五种声腔各自特长的借鉴。鉴于大家对向外的横向借鉴谈得比较多,在这里我就不多谈了,下面我想着重谈谈对川剧五种声腔横向借鉴问题的一些看法。川剧的五种声腔就总体而言,它们有着丰富的表现力,这无可非议。但若以其中的某一种声腔而言,它们的表现力又无疑是要受到一些局限的。正如人们常说的那样:悲剧用高腔较好,而正剧(尤其是以生、净为 It is true that many people have already discussed a lot about the horizontal reference to the music of Sichuan Opera. In my opinion, there are only two aspects that can be summed up: First, it is a horizontal reference to the outside world. That is, learn from brothers drama, songs, operas, movies and other foreign art form expertise. The second is the interior of Sichuan Opera on the respective advantages of five kinds of sound lessons. As we talk more about outward horizontal reference, I will not talk much about it here. Now I want to focus on some views on the horizontal reference of the five kinds of soundtracks in Sichuan Opera. The five voices of Sichuan Opera are, on the whole, very expressive, which is beyond reproach. However, if one of these voices is concerned, their expressiveness undoubtedly suffers from some limitations. As people often say: tragedy with a better cavity, and drama (especially in health, net