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作为中国古老的之一,月琴最晚在清朝前期时被引入京剧中,其开端是京剧西皮调。据《燕南小谱》记载:“西秦腔……其器……以胡琴为主,月琴副之。”随着社会的发展和京剧的变革,现在的京剧伴奏由月琴、京胡、三弦组成,并有“月琴、弦子与胡琴,三样和成绝妙音”的美传。京剧在发展中不断创新,不仅对自身的传统表现形式去粗取精,还广泛吸收其他音乐表现形式为己用,随着不断的创新发展,现在的京剧声腔体系主要以以西皮、二黄为主,而作为京剧的伴奏乐器,京胡、月琴与三弦也被人称之为京剧中的“三大件”。长期的京剧伴奏历程和随京剧发展不断创新的演奏方式,以及众多月琴演奏者的不断探索,月琴也逐渐发展出自己的伴奏方式和技巧,其琴弦配置和琴弦品数也与原来有所不同。但同样的是,月琴始终作为京剧的重要伴奏乐器存在着,其在京剧伴奏中始终发挥着重要的作用,有着不可或缺的地位。本文便就月琴在京剧中的功能做一个浅要的分析。
As one of the oldest in China, Yue Qin was introduced into Peking Opera at the latest in the early Qing Dynasty. Its beginning was the opera Peking opera. According to the “Yan Nan Xiao Pu” records: “The West ... ... its device ... with the main piano, Vice Qin Yue.” “With the social development and the reform of Beijing Opera, Beijing opera accompaniment by the Yue Qin, Beijing Hu, , And there is the beauty of ”Yue Qin, Xianzi and Huqin, three kinds of wonderful sound“. Peking opera continues to innovate in its development. It not only takes its traditional forms of expression to be coarse and fine, but also absorbs other forms of music for its own use. With the constant innovation and development, Beijing opera is mainly dominated by Western and Northern Dynasties. As a Beijing Opera accompaniment instrument, Jinghu, Yueqin and Sanxian have also been called the Peking opera ”Three Big Pieces." Long-term Beijing Opera accompaniment history and with the continuous development of Beijing Opera’s performance style, as well as many Yue Qin players continue to explore, Yue Qin also gradually developed their own accompaniment style and skills, the string configuration and the number of strings is also different from the original . However, in the same way, Yueqin always exists as an important accompaniment instrument of Peking Opera. It always plays an important role in the accompaniment of Peking opera and has an indispensable position. This article will make a minor analysis of Yue Qin’s function in Peking Opera.