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[10]王俊梅.再论唢呐演奏中的情感投入[J].艺术家,2020(11):86-87.
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[13]李健斌.浅析唢呐在潮剧中的作用[J].戏剧之家,2020(21):108-109.
[14]隋景山.唢呐家族的几种吹管乐器与吹奏艺术[J].黑河学院学报,2020,11(07):135-138.
[15] Qian Hao. Research on Suona Blowing Opera Music [D]. Nanjing University of the Arts, 2020. DOI: 10.27250/d.cnki.gnjyc.2020.000177.
[16] Du Jun. Analysis on Suona Performance Style [J]. Drama House, 2020(13):70.
[17]王冉.《兰陵王入阵曲》的千古传颂及渊源流变[J].河北学刊,2014,34(03):194-196.
[18]赵建波,贾红毅,李世光.《兰陵王入阵曲》勇开面具舞之先河[J].兰台世界,2013(21):112-113.DOI:10.16565/j.cnki.1006-7744.2013.21.017.
[5]牛梦瑶.唢呐艺术的传承与发展探析[J].文化月刊,2021(05):50-51.
[6]黄知婷.概述唢呐的演奏风格与技巧[J].明日风尚,2021(07):13-14.
[7]孟建军.精于演奏热衷改革——访著名唢呐演奏家、改革家牛建党[J].乐器,2021(02):28-31.
[8]刘可可.唢呐演奏的传承与发展研究[J].戏剧之家,2021(04):63-64.
[9]郭柱.探究唢呐演奏在二度创作中技术的把握[J].戏剧之家,2020(34):60-61.
[10]王俊梅.再论唢呐演奏中的情感投入[J].艺术家,2020(11):86-87.
[11]梁琳.黄土高坡的震天吼——绥米唢呐国家级非遗传承人汪世发访谈录[J].文化遗产,2020(05):149-158.
[12]陈晓志.唢呐演奏技巧的控制与运用[J].黄河之声,2020(16):74-75.DOI:10.19340/j.cnki.hhzs.2020.16.035.
[13]李健斌.浅析唢呐在潮剧中的作用[J].戏剧之家,2020(21):108-109.
[14]隋景山.唢呐家族的几种吹管乐器与吹奏艺术[J].黑河学院学报,2020,11(07):135-138.
[15] Qian Hao. Research on Suona Blowing Opera Music [D]. Nanjing University of the Arts, 2020. DOI: 10.27250/d.cnki.gnjyc.2020.000177.
[16] Du Jun. Analysis on Suona Performance Style [J]. Drama House, 2020(13):70.
[17]王冉.《兰陵王入阵曲》的千古传颂及渊源流变[J].河北学刊,2014,34(03):194-196.
[18]赵建波,贾红毅,李世光.《兰陵王入阵曲》勇开面具舞之先河[J].兰台世界,2013(21):112-113.DOI:10.16565/j.cnki.1006-7744.2013.21.017.
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