2) Drama music
戏曲音乐
1.
Singing and accompaniment in drama music supplement and complement each other and they make up the main body of drama music.
戏曲音乐中的唱腔与伴奏,彼此相辅相成,相得益彰,既对立又统一地构成了戏曲音乐的主体。
3) opera music
戏曲音乐
1.
The article intends to use the aria change of opera music as an exploration object, trying to take Huangmei Opera as an example to disclose the rule of aria change and development.
本文以戏曲音乐的腔形变化作为一般性探索对象,并试图以黄梅戏为例揭示戏曲音乐唱腔形态发展变化的规律。
2.
For a long time there have been various opinions on naming (including classifying) the opera music, such as "Banqiangti", "Banshibianhuati" and "Qupaibanqiangti".
长期以来对戏曲音乐体制的命名 (含分类 )众说纷纭 ,如 :“板腔体”、“板式变化体”、“曲牌板腔体”……“曲牌板式变化体”说 ,试图使中国戏曲音乐体制的命名 (含分类 ) ,尽量名实相符 ,且能“一以贯之”。
3.
Opera is an important part of the Chinese traditional culture and is characteristic to chinese people as a Rind of comprehensive stage art,in which,however,opera music is the most important part.
而戏曲音乐是这一综合艺术极为重要的组成部分。
4) traditional opera music
戏曲音乐
1.
In the Sixteen kingdom and North dynasty,the music of the western regions and all the surrounding nations entered the Central Plains,merging with the Central Plains s traditional music,thus the eighty-four tunes came into being,which laid the foundation for the traditional opera music and had a direct influence on its unique style in the Jin,Yuan dynasties.
古代戏曲音乐的形成,是各民族文化融合的艺术结晶。
2.
At the same time, the modern creative theories which originate from western countries are widely used in music composition which has been made essentially different from traditional opera music in both content and form.
新中国成立以后,戏曲音乐创作吸收了民族、西洋歌剧的创作手法,并大量运用了现代西方作曲理论,使现代戏曲音乐创作无论从内容还是形式上都与传统的戏曲音乐创作有着本质的区别。
5) drama music
戏剧音乐
1.
The article focused on the fugue principle used in Purcell s drama music.
本文所要研究的是赋格原则在浦塞尔戏剧音乐中的运用 ,通过对浦塞尔几部有代表性戏剧音乐中赋格原则运用的具体分析 ,使我们看到赋格原则的运用与戏剧音乐表现内容之间的紧密联系以及赋格原则在浦塞尔戏剧音乐表现中的重要地位和价
6) music-drama
音乐-戏剧
补充资料：童子戏作佛事
【童子戏作佛事】
（本生）法华经方便品曰：“乃至童子戏，聚沙为佛塔，如是诸人等，皆已成佛道。”阿育王传一曰：“世尊与阿难在巷中，行见二小儿，一名德胜，是上族姓子。一名无胜，是次族姓子。弄土而戏，以土为城。城中复作舍宅仓储，以土为麨著仓中。此二小儿见佛三十二大人相欢喜，德胜于是掬仓中土名为麨，奉上世尊。无胜在傍合掌随喜。德胜于是说偈赞曰。（中略）佛言：我若涅槃百年之后，此小儿者当作转轮圣王四分之一，于花氏城作正法王，号阿恕迦。分我舍利而作八万四千宝塔，饶益众生。”
（本生）法华经方便品曰：“乃至童子戏，聚沙为佛塔，如是诸人等，皆已成佛道。”阿育王传一曰：“世尊与阿难在巷中，行见二小儿，一名德胜，是上族姓子。一名无胜，是次族姓子。弄土而戏，以土为城。城中复作舍宅仓储，以土为麨著仓中。此二小儿见佛三十二大人相欢喜，德胜于是掬仓中土名为麨，奉上世尊。无胜在傍合掌随喜。德胜于是说偈赞曰。（中略）佛言：我若涅槃百年之后，此小儿者当作转轮圣王四分之一，于花氏城作正法王，号阿恕迦。分我舍利而作八万四千宝塔，饶益众生。”
说明：补充资料仅用于学习参考，请勿用于其它任何用途。
参考词条