摘要
腔套的布局主要体现在宫调、板式与节奏、腔韵与腔音列以及音色等的对比统一之中。本文试从以上几个方面重点阐述腔套的布局,以期说明各种类型的腔套是如何在布局的对比统一中,通过音乐形态多方面的共同作用,形成各自独特的特点。
That the distribution of qiangtao (Chinese trope set) embodies mainly in the contrast and unity between Gong-mode,banshi (form of beat and rhythm in traditional Chinese opera) and rhythm,qiangyun (trope rhyme) and qiang tone row with timbre. The papers discussed the distribution of trope set mainly from these aspects above, and explained how each type of Chinese trope sets formed individual features through the music configuration in distribution of contrast and unity.
出处
《黄钟(武汉音乐学院学报)》
CSSCI
北大核心
2010年第1期21-41,共21页
Huangzhong:Journal of Wuhan Conservatory of Music
关键词
腔套布局
宫调
板式
腔韵
腔音列
distribution of qiangtao (Chinese trope set)
Gong-mode
banshi (form of beat and rhythm in traditioanl Chinese opera)
qiangyun (trope rhyme)
qiang tone row