赣南采茶戏多声思维的运用  

Practice of Multi-Sound Thinking in Tea-Picking Opera of Southern Jiangxi Province

作　　者：王伽娜[1] 

机构地区：[1]肇庆学院音乐学院,广东肇庆526061

出　　处：《肇庆学院学报》2013年第4期53-57,共5页Journal of Zhaoqing University

基　　金：教育部人文社会科学基金资助项目(09YJA760046);广东省哲学社会科学"十一五"规划基金资助项目(09R-01)

摘　　要：赣南采茶戏多声思维的运用,在保持五声性民族调式风格的前提下,以空泛音程为主,从最初即兴的、自然的,逐渐发展到有意识的、多样化的,声部间搭配日益丰富、娴熟,表现在3个方面:运用和声手法和复调手法的唱腔旋律、管弦乐与打击乐多声配合的乐器伴奏以及唱腔旋律与打击乐和弦乐之间的多声配合。这说明赣南采茶戏并没有止步不前,而是广泛吸收西方的、现代的多声音乐思想,不断充实发展从而逐步完善成熟。In keeping pentatonic tune ethnic style premise, the use of multi-sound thinking in tea-picking operas in Southern Jiangxi Province is dominated by vague interval, which changes from initially being improvised and natural to gradually being conscious and diverse with increasingly rich and skilled combinations of each part, that is, the combination of harmony with polyphony, orchestral music with drum music, and singing melody with instruments. Furthermore, the tea-picking operas widely absorb western modern polyphonic music concepts for development, and improved quality.

关 键 词：赣南采茶戏 多声思维 多声运用 

分 类 号：J607[艺术—音乐]