1.
Both local genre of quyi tune- patterns and personal genre have an inseparable relation with local cultures.
无论是地域性曲艺唱腔流派,还是个人唱腔流派,都与地域文化有着密不可分的关系。
2.
The formation of genre of quyi( folk- art forms) tune- patterns is directly effected by local cultures.
曲艺唱腔流派的形成,直接受到地域文化土壤的孕育和熏陶。
3.
Analyze the Creation and Sings of Shang Deyi s Coloratura Art Songs;
尚德义花腔艺术歌曲的创作及演唱分析
4.
The Assimilation, Fusion and Development of Chinese Operatic Arts and National Vocal Music in Terms of Kunqu Singing
从昆曲演唱艺术看民族声乐对戏曲声腔艺术的吸收、融合与发展
5.
The Framelies in the Tune And the lustre in the singing： Ma Xiangduan s Skills of the Nanyin Singsing Embellishment in the Dangerous Mountain;
筐格在曲,色泽在唱——马香缎《山险峻》的南音润腔艺术试探
6.
To Absorb and Learn From the Cream of the Tune of the traditional Opera in the Singing Exercises Of National Vocal Music;
戏曲声腔艺术在民族声乐演唱训练中的吸收与借鉴
7.
The "Negation of Negation" of the Definition of Music form in Chinese Opera Singing;
中国戏曲唱腔曲体界定的“否定之否定”
8.
On“Jiqu and the Variational Style of Banshi”in Chinese Opera Singing;
试论戏曲唱腔的“集曲板式变化体”
9.
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
10.
A Probe into the Vocal Musical Style of Man Kong Fei--A Well-known Piece of San Qu of South Fujian Music;
福建南音散曲《满空飞》的唱腔风格探讨
11.
The Musical Meaning of the Music for Voice of Qu Pai in Tang Xianzu s "the Opera of Handan;
汤显祖《邯郸记》曲牌唱腔音乐意义
12.
The “Nan and Bei Verses”, Ming and Qing Ditties, and Folk Songs: Reflections on the Combination of Nan and Bei Verses in Liao Zhai Zhi Yi;
“南北曲”、明清小曲和聊斋俚曲——从聊斋俚曲“南北合套”曲的唱腔说起
13.
Singing the History-the Artistic Treasure He Juo Da Gu Melody of an Aria Researching
唱出历史—濒危艺术瑰宝河洛大鼓唱腔研究
14.
Research on Mao Ailian s Aria and Performing Arts;
毛爱莲的唱腔艺术与人物形象的塑造
15.
Astudy of the Singing Art and the Transmission of One of the Henan Opera
豫剧豫东唐派唱腔艺术及其传承研究
16.
When performing a classical song, how should I do to handle the feeling of continuity?
在演唱艺术歌曲的时候怎么唱出连的感觉？
17.
The Research on the Composing Rules and Performing Techniques of Talking and Singing in Quyi;
对曲艺中说与唱创作规律及演唱技巧的探讨
18.
"Zi Wai Qiang Po" and Perfect Singing--On the Art Force and Situation Tensility of "Zi Wai Qiang Po" and "Zi Zheng Qiang Yuan"(Continued)
“字歪腔破”话美唱——论“字歪腔破”与“字正腔圆”的艺术合力与形情张力