浙江曲艺音乐中的小调

• 作 者: 陈月红
• 机 构: 徐州工程学院,
• 出 处: 通俗歌曲
• 发表日期: 2016年03期
• 关键词: 曲艺音乐 汉族民歌概论 剪靛花 银纽丝调 顿音 慧集 孟姜女哭长城 扬州清曲 清朝时期 色彩性

在浙江曲艺当中的小调具备以下三种情况,其一是临时使用的小调,其中稍带着插曲性质的小调,这一种小调是一种较普遍的曲艺;其二是加工和修饰后的小调,通过艺人们的加工处理之后又被小调所接纳,在一定程度上具有推动小调艺术发展的意义;其三是创造性的小调,经过艺人们的思维创造融入到曲艺音乐当中,从而成为其主要的唱调,通过这三个方面的理解可以看出小调和曲艺之间的关系,且具有重要的研究价值。

The minorities in Zhejiang Quyi have the following three situations, one is the temporary use of minor, which is slightly with the episode of the minor, this kind of minor is a more common folk art; the other is the processing and modification of the minor , Which is accepted by the minor after being processed by the artists and to a certain extent has the significance of promoting the development of the art of the minor. The third is the creative minor, which becomes the major part of the music through the artist’s thinking and creation Singing, through the understanding of these three aspects can be seen in the relationship between minor and folk art, and has important research value.