1)Qupai style曲牌体
1.After the decline of legend and Kunqu,Liuzixi of Qupai style stood in the ocean of Banqiang style and then displayed great influence on several kinds of Chinese drama.在传奇、昆曲衰落后,曲牌体的柳子戏屹立在板腔体的戏曲海洋中,成为中国戏曲史上的独特存在。
英文短句/例句
1.This article will first discuss" Qu Fai Ti", looking at different scholars' definitions of" Qu Pai Ti".其三、曲牌的性格、牌的名称来源以及曲牌的运用与发展等方面，提出笔者对曲牌体的看法。
2.The singing style in Chinese opera and story-telling is the backbone of Chinese music.本文则首先论曲牌体与板腔体之名义、制与异同。
3.Lastly, the article will discuss the differences between Qu Fai Ti and Ban Qiang Ti and their application and development in Chinese opera.最后探究曲牌体与板腔体的异同和在戏曲中的运用情形与发展特色。
4.Paizi qu, or folk tunes, had their historical origin chiefly in the folksongs of the south.牌子曲，顾名思义，是由历来的南北小曲(曲牌)作为音乐主体的，
5.A Research on the Standardized Form of Tune Name of Jiangxi Yiyang Tune (Zhuyunfei);论弋阳腔〔驻云飞〕正体曲牌音乐特征
6.The birth of qu tunes heralded the birth of a new type of musical system.曲牌的诞生，宣布了一个新的音乐体系行将诞生。
7.Tanci and dagu no longer used the qu tunes format of linked sets, but one consisting of accented beats.弹词和大鼓的音乐已不再采用曲牌联套的结构，而用板腔体式，
8.This form resulted from the accumulation and articulation of the rules of changes applied in the qu tunes.这一结构形式，恐是积累并总结了曲牌运用中的变体规律，
9.Qupai: the Spreading Carrier of Traditional Music & the Distinctive Thinking of Chinese Traditional Music Creation;曲牌:中国传统音乐传播的载体和特有音乐创作思维
10.The Relationships Between Danxianr and the Origins of Changyang South Opera;单弦牌子曲与长阳南曲渊源关系探讨
11.The Ci - poem & Qu - poem Originating from Ancient Western China;源自西域乐曲的词牌和曲调举隅(下)
12.The Ci - poem & Qu - poem Origin from Ancient Western China;源自西域乐曲的词牌和曲调举隅(上)
13.Paizi qu broke out of the mold of the northern and southern music, which was limited to sets of gong diao music,牌子曲突破了南北曲只用同宫调曲牌入套的限制，
14.The Impact of Literati lyric on Nanbeiqu Melody in Ming and Qing Dynasty;论明清时期文人曲词对南北曲曲牌定腔的影响
15.On the Characteristics of Sentence Structures and the Categories of Changyang Nanqu Qupai "Nanqu Tail";长阳南曲曲牌[南曲尾]曲词句式特点与分类之再分析
16.The significance of the qu tunes lies not merely in their musical material,曲牌产生的意义并不在于仅仅将曲牌作为音乐素材，
17.Small Tunes (Xiao chang) in Ming Dynasty Story- Telling;明代的“小唱”——从《金瓶梅词话》中唱曲牌的曲艺谈起
18.Wei Liangfu, Tang Xianzu and Jiang Baishi --Relationship between Quchang and Qupai;魏良辅·汤显祖·姜白石——“曲唱”与“曲牌”的关系
相关短句/例句
major Tune Label主体曲牌
3)qu pai ti ban lu曲牌体板路
4)Names of the tunes to which qu are composed曲牌联套体
5)qupaibanshibianhuati(the system of the change of the music name and timing)曲牌板式变化体
6)Qupai曲牌
1.On the Change of Traditional Qupai——Dazaogan;传统曲牌[打枣竿]的嬗变
延伸阅读
曲牌联套体曲牌联套体中国戏曲音乐的一种结构体制。将若干支曲牌按一定章法组合成套，以构成一折(出)戏的音乐。一本戏若干折(出)，即由若干组套曲构成。这种戏曲音乐结构方法，开始于南、北曲，至昆山腔渐趋成熟，而弋阳腔则作了不同发展。在梆子、皮簧出现以前，曲牌联套体曾是中国戏曲音乐唯一的结构形式，昆曲、高腔至今仍在沿用。曲牌联套体由诸宫调发展而成，经历了由简单到复杂的衍变过程。从南、北曲到昆曲、高腔所用套曲，其曲体大致3种：①单曲体，同一曲牌反复使用。②循环曲体，两曲循环交替。③多曲体，全套均由不同曲牌组成。套曲通常分为引子、过曲、尾声3部分，当若干曲牌联成一套时，其中必有一曲处于主导地位，称为“主曲”。主曲是全套曲中调性最强、最能发挥演唱技巧的曲牌，通常为过曲的第一曲。为了保持全套风格的统一，除有赖于宫调的规范外，还需要在唱腔中运用某种有特点的腔型，以之贯连全套，这种曲调处理方法，传统称为通套相协。
