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近年来,笔者有意关注了我省戏曲音乐的创作情况。实事求是地说,大多数作曲家在传统继承与现代创新方面,各自走出了一条比较正确的道路。但是不可否认的是,个别戏的音乐唱腔,明显存在着远离传统,一味追求所谓创新而实则丢掉剧种音乐本质特性的现象。作为传统豫剧的音乐唱腔,本来是十分丰富的,它的音乐曲牌有几百种之多,适合于人物各种情绪下的表现。它的唱腔有四大板式及四大板式
In recent years, I have intentionally concerned about the creation of operatic music in our province. To be realistic, most composers have come out with a relatively correct path in their traditional inheritance and modern innovation. However, it is undeniable that there is a clear phenomenon in the music aria of individual operas that the traditional essence of blind pursuit of so-called innovation is actually lost. As a traditional opera music singing, was originally very rich, it has hundreds of music songs as many as suitable for a variety of emotions under the performance of people. Its aria has four plates and four plates