| 1. | Play - beijing opera , arr . li min - xiong : deep night
播放-京剧曲牌,李民雄编:夜深沉 |
| 2. | Play - sichuan yangqin tune , arr . xiang si - hua , li xiao - li : general s command
播放-四川扬琴曲牌,项斯华,李小立整理：将军令 |
| 3. | 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、体制与异同。 |
| 4. | Though this cause the prosperity of play book , it result in the disintegration of nanbeiqu melody
这虽然促成了戏曲文学的极度繁荣，但同时也产生了另一后果：加速了曲牌定腔的消解。 |
| 5. | This article will first discuss " qu fai ti " , looking at different scholars ' definitions of " qu pai ti "
其三、对曲牌的性格、曲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。 |
| 6. | 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。 |
| 7. | " qu pal ti " and " ban qiang ti " are two different qu ti forms in the music for traditional chinese story - telling and opera
摘要曲牌体与板腔体是说唱和戏曲音乐不同的曲体形式，在说唱和戏曲的长期演进、发展过程中扮演著重要的地位。 |
| 8. | 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。 |
| 9. | This enables traditional chinese story - telling and opera , which are in essence ensemble performances , to have more room for improvisation , which in turn gives higher artistic value to traditional chinese story - telling and opera
笔者打算研究的范围包括板腔体与曲牌体的唱词结构、音乐形式，以及各自的生成现象、体制内容、演变状况、综合运用和发展情形等。 |
| 10. | This paper aims to provide researchers and creators of chinese opera , story - telling and music more concrete information , data and analysis and thereby hopes to make some contribution to the future development of chinese music
本文借由对曲牌体与板腔体的源由、体制、发展以及各自的特质之研究，希望能提供从事戏曲、说唱和我国音乐创作与研究者一些曲体的现象与资料，并期能对未来我国音乐的发展略尽棉薄。 |
