婺剧徽戏生角唱法对民族男高音训练的借鉴  

Reference of the Singing Technique of Male Roles in Huixi Opera of Wu Opera for the Training of Folk Tenors

作　　者：陈子扬[1,2] 

机构地区：[1]华中师范大学音乐学院 [2]天津体育学院运动与文化艺术学院

出　　处：《浙江艺术职业学院学报》2013年第1期44-49,共6页Journal of Zhejiang Vocational Academy of Art

基　　金：2010年度教育部人文社会科学研究规划基金项目(艺术类)一类课题<地方戏曲进入高师音乐教育体系的构建研究>成果(项目编号:10YJA760083)

摘　　要：徽戏是浙江省代表性地方剧种——婺剧中应用最广泛的声腔体系。对徽戏中生角行当唱法在用嗓特点、发声方法、咬字、共鸣等方面进行研究,对现代民族男高音演唱的提高,对形成具有中国特色的民族唱法有着很好的借鉴意义。现代民族男高音作为植根于中华民族传统文化土壤的演唱技法,要想真正体现本民族特色,展现地域文化魅力,在借鉴西洋唱法的同时,更应该从本土的传统戏曲唱法中吸取养料和精华。与此同时,这也必将推动传统戏曲这一重要非物质文化遗产的抢救性整理和研究保护工作,实现戏曲塑造民歌灵魂,民歌反哺戏曲提升的良好发展格局。Huixi opera is the most widely used tune system in Wu opera,a representative local opera in Zhejiang province.It is significant for the improvement of folk tenor＇s singing and the formation of folk singing style with Chinese characteristics to make a research on the vocal using,articulating and resonance of the singing technique of the male roles.Rooted in traditional Chinese culture,modern folk tenor should absorb the essence of singing techniques of traditional Chinese opera with the charm of regional culture while learning from western singing.It will promote the protection and research of traditional Chinese opera as the intangible cultural heritage,and thus realize a good developing pattern by portraying the soul of folk song with folk opera which will be promoted by folk song＇s feeding back at the same time.

关 键 词：婺剧 民族男高音 徽戏 声乐教学 非物质文化遗产 

分 类 号：J616.22[艺术—音乐]