| 昆曲生角演唱的用嗓特点 |
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| 引用本文： | 田韶东.昆曲生角演唱的用嗓特点[J].新余高专学报,2008,13(6):70-73. |
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| 作者姓名： | 田韶东 |
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| 作者单位： | 杭州师范大学,浙江,杭州,310002 |
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| 基金项目： | 此文得到浙江省文化艺术研究院院长黄大同、浙江省昆剧团国家二级导演周世瑞和浙江省昆剧团副团长陶铁斧的帮助,在此表示感谢. |
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| 摘 要： | 生角在清代中叶以后才完备。昆曲生角可分为大官生、小官生、巾生、雉尾生等。生角基本用嗓方法有膛音、剐音和柔音；基本用嗓类型有“高亢宽亮型”和“潇洒飘逸型”。昆曲生角演唱速度等方面有变化的趋势，而其演唱方法和音色最具特色要予以保护。
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| 关 键 词： | 昆曲生角 演唱用嗓 |
Singing feature of role of sheng of kunqu |
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| TIAN Shao-dong.Singing feature of role of sheng of kunqu[J].Journal of XinYu College,2008,13(6):70-73. |
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| Authors: | TIAN Shao-dong |
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| Institution: | TIAN Shao-dong(Hangzhou Normal University,Hangzhou 310002 China) |
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| Abstract: | The role of sheng was perfected after the middle period of the Qing Dynasty.The role of sheng of kunqu can be divided into daguansheng,xiaoguangsheng,jinsheng,zhiweisheng,etc.The role of sheng uses chest sound,rigid sound and soft sound when he sings and the basic pattern of singing is loud and sonorous pattern and natural and unrestrained pattern.The singing tempo of the role of sheng has the tendency of change while his singing method and tone are of feature which needs protection. |
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| Keywords: | role of sheng of kunqu singing using sound |
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