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在京剧形成初期,作为京剧三大件之一的月琴并没有专职演奏人员,只是初学者学习的阶段性乐器,是为最终拉京胡的一种过渡,乐器结构本身也较为简单。后来经过一代代月琴艺术家的不断摸索,尤其是新中国成立后专业院校的规范性教学后,月琴演奏焕发新的活力。“样板戏”的创新,也促使月琴有了前所未有的变革,其演奏方式和地位发生质的变化,为其成为独奏乐器奠定坚实基础。本文便就月琴在京剧中的变革做一个探析,找寻月琴发展的历史轨迹。
In the early days of Peking Opera, Yue Qin, one of the three major pieces of Peking opera, did not have full-time performers. It was just a stage instrument for beginners to learn. It was a transition to Laojin in the end. The structure of the instrument itself was relatively simple. Later, after months of continuous exploration by the artists of the month of Qin Yue, especially after the founding of New China, the professional teaching in colleges and universities, the Yue Qin played a new vitality. The innovation of “model opera” also promulgated the unprecedented transformation of Yueqin and the qualitative change of its playing style and position, laying a solid foundation for its becoming a solo instrument. In this paper, we will make an analysis on the change of Yueqin in Peking opera and find the historical track of the development of Yueqin.