粵曲粵劇趣味話題 (卷一） 日期：2015/04/26 22:55 留言者：KC 通常網上討論，好易談興正濃離了題！又來不及去談天說地版設題！不如就開個廣濶的題目！ 任大家隨意發揮吧！ （出貼日期：2012年10月21日）上面日期乃本貼修改過的日期！

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Re: 粵曲粵劇趣味話題 ( No.3171 ) 日期：2013/06/11 01:21 留言者：寸草心 粤曲与廣東小調之美妙結合實在是曲藝界之(偉大!....想唔用呢个詞!)貢献! Re: 粵曲粵劇趣味話題 ( No.3172 ) 日期：2013/06/11 03:48 留言者：TL 百度出來的，原來廣東音樂有很多個最早與唯一： 近代广东虽为富庶之区，历史上则开化最晚，乐种之产生、流传，不过百年左右，与南管、秦腔之久远固望尘莫及，甚至与平剧、弹词相较亦无法相提并论。但也正因其所受历史包袱牵制最少，自由发展的可塑性也就最大。加以地处对外之通商口岸，与外来文化接触最早，受西洋文化之影响与启发，亦奠定其进化的基础。 洋琴，这外来乐器，即由广东最早引进，并成功的运用于广东音乐中。广东音乐最早采用洋琴竹法的方式，记出 三十二分音符与切分音、前联音、后联音之别，后来也最早改采简谱，最早出版曲集，署以作曲者名姓，附以乐器及奏法介绍与西洋乐理。最早采用钢丝弦，使用高把位与滑指换把法。最早成功的采用中途转调、暗转调等技巧作曲。从比对早基出版的曲谱集工作中，可以发现，短短十年间，同一曲谱所奏即有很大的不同，这种种进化现象，是粤曲所独具的。粤曲也是唯一不断有创作的传统乐种。曲目题材之时代化、社会化亦充分表现此乐种的蓬勃。虽然近代学者，不尽赞许认同这种方向，终究亦无法否认此事实之存在。 在众多传统民乐中，粤曲是唯一能访考出作者名姓，且流传全国各省的乐种。民国初年，短短二十年间，产生出约五百首的曲目。硬弓编制也迅速改为软弓编制。加入十二律乐器，甚至西洋乐器等等。与乐器、编制、记谱法、曲目均长期处停滞状态的昆曲、南管相比，确令人耳目一新。 Re: 粵曲粵劇趣味話題 ( No.3173 ) 日期：2013/06/11 10:02 留言者：Kc 早晨！早晨！ 廣東音樂有幾堅？ 哈哈！零八年中國奧運開幕，你估支進塲曲係邊支？ 丁丁丁•••櫈！竟然係•••••••步步高！ 堅啩？ 整兩句嘢俾你估下，睇下你熟唔熟曲先！ 邊個話我儍？我請佢食燒鵞！ 估倒話你叻囉！ Re: 粵曲粵劇趣味話題 ( No.3174 ) 日期：2013/06/11 10:11 留言者：新凡风 TL曲友： 粤曲粤乐，确曾是乐界奇葩；难怪周总理誉为南国红豆。可惜由盛而衰，近几十年已少创新，甚至有新不如旧的感觉。看来要有新思维了。关键是新原素必须仍姓粤，不姓北或姓西。融合可以，不能硬移植也。 Re: 粵曲粵劇趣味話題 ( No.3175 ) 日期：2013/06/11 12:15 留言者：TL 新凡風曲友：新創作的廣東音樂多走高級路線，不易在民間普及。最遺憾的是對乙反線有意無意的忽略。手頭有解放後創作的廣東音樂曲譜近百首，只有2首用到乙反線（還不是整首）。最有代表性的廣東音樂，乙反線或游移於乙反與正線之間的曲目幾乎過半。雙聲恨、昭君怨、餓馬搖鈴、流水行雲、鳥驚喧、連環扣等等。失去乙反，已經失去粵樂風格之半矣。 今天忙，改天詳述。 Re: 粵曲粵劇趣味話題 ( No.3176 ) 日期：2013/06/11 12:33 留言者：路過 邊個話我儍？我請佢食燒鵝？ 這句是出自五十年代粵語時代曲，由何大傻唱的多多福，譜自旱天雷。這首歌的靈感，可能取材自三十年代一首粵曲“邊個話我傻”（何大傻唱），開頭兩句為“邊個話我儍？我請佢食雞脾“ 講到廣東音樂，開正小弟一瓣。 上面講到，朱紹良作龍飛鳳舞，應為朱兆良，他是吹吐林必（小號）的。 雪底遊魂是否陳冠卿的作品？（因為出自”風雪訪情僧“） 梵天曲原名”煩惱禪心“，亦來自”風雪訪情僧“。不過何非凡和秦小梨在中勝唱片入碟時，曲名已改為”梵天曲“ Re: 粵曲粵劇趣味話題 ( No.3177 ) 日期：2013/06/11 12:40 留言者：一家言 　　粤曲好听，除了梆黄唱腔的功劳，还跟可以用来填词演唱的大量好听的广东音乐有很大关系，广东音乐最繁盛的创作时期是上世纪二十至四十年代，近二三十年是明显走下坡了，在下认为最关键的是因为缺乏人才，内地说得上的粤乐名家，如汤凯×、卜灿×、何克×等，这些年也创作过一批广东音乐作品，有的还得过什么什么奖，有的人还出过自己的广东音乐作品ＣＤ，但由于本身的音乐素质局限，或创作时太着重于“骚”个人的演奏技巧，这些新作品几乎没有一首能够在行内流传，也没有一首因为有动听的旋律而被写粤曲的人采用填词，所以都没有机会被更多的人认识和接受。这是其一。 　　这些新作品，除了通俗性的欠缺，演难度太大，还有一个是取材问题，有首新创作的广东音乐名为《猴戏》，说通俗点就是“马骝戏”，殊不知在粤人方言俗语中的“马骝戏”就是儿戏、荒诞、胡闹与不可靠的同名词，所谓“唔怕生坏命，最怕改坏名”，好叫唔叫，曲名《猴戏》真是一出世就改坏咗个名，其次此曲的作者他自己擅长高胡，便在音乐旋律上一味炫耀自己的技巧，采用高难度的“换把”方法，别人想学玩根本学不了，正如文卓凡先生所说，阿×这首曲是他为自己度身创作的，其次它的内容据作者介绍是表现江湖卖艺者，当众耍猴时猴子的各种趣致动作及表现的云云，天呀，耍猴是过去外江佬（外省人）谋生的玩意儿，你好写唔写，写外江佬玩马骝？哪个广东人会中意？又有哪个撰曲者想用它来填词先？自然用来用去都是用那些传统的作品了。 　或者这些后辈的音乐名家也想写些像吕文成、何柳堂、严老烈那样能为众人欣赏的作品，无奈资质所局限，只能买少见少，将就写几首出来凑数，但观众对艺术欣赏是决不会“凑数”的，在这一点上，很像当年黎子流刚上任做广州市长时，他拍心口说的那样——“得就得，唔得就返顺德！” Re: 粵曲粵劇趣味話題 ( No.3178 ) 日期：2013/06/11 15:22 留言者：諾基亞 大誤，粵劇四大名旦係，衛少芳，楚岫雲，譚蘭卿，上海妹。除未被廣泛傳唱學習而只留一名詞之妹腔外。其餘皆未曾得成名腔，楚岫雲的唱腔更被潘賢達批評過，但我想當年能成名旦，不只論唱功，還有其他如功架，戲味等因素。如上海妹，居然有翻生顰娘之稱號，肯定其哀怨深情演出深受觀眾讚賞者。 而紅線女，芳艷芬，白雪仙，雖未被稱過四大名旦，但此三人卻成名腔，今時女腔更一枝獨秀於粵曲界，而芳艷芬則曾稱為花旦王。 不論四大名旦，單論唱，前有鄧碧雲，後有吳君麗，高過秦小梨幾班，論功架，有余麗珍。秦小梨只以噱頭成名。 Re: 粵曲粵劇趣味話題 ( No.3179 ) 日期：2013/06/11 16:08 留言者：寸草心 KC兄: 整几句嘢俾你估下，睇下你熟唔熟曲先！ "今晚(mann)就冇乜餸嘞,塗茶,就茶 茶又凍,餓到我眼矇朦!............" 估倒話你叻囉！ Re: 粵曲粵劇趣味話題 ( No.3180 ) 日期：2013/06/11 16:00 留言者：Kc 何柳堂 之•••••••••查的的撐！ 雨打••••••••查的撐•••••• 芭蕉呀耶！ Re: 粵曲粵劇趣味話題 ( No.3181 ) 日期：2013/06/11 16:07 留言者：寸草心 ......乜 "打金枝" 你都識!? Re: 粵曲粵劇趣味話題 ( No.3182 ) 日期：2013/06/11 16:30 留言者：諾基亞 今晚，就冇乜，餸嘞，，茶就茶又凍，，，餓到眼，矇朦 工尺乙士上尺工上，，士合仜合士上，，乙士上上尺工尺

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