在戏曲艺术大繁荣的背景下,大约在20世纪30年代,用呐子这种民间器乐模仿戏曲声腔的演出形式应运而生。呐子主要流传于河南、山东、安徽的民间鼓吹乐班中,演奏者运用气、唇、舌、手的配合,来模仿老生、花脸、小生、花旦、青衣等不同戏曲角色的唱腔,深受当地人的喜爱。百年来由于无人整理规范、无文字资料、仅靠“口传心授”式的传授方法等多种因素的影响,使得呐子吹腔这种民间艺术处于消亡的边缘。笔者通过民间采风进行深入研究,将呐子的演奏技法 In the context of the great boom of the drama art, about the form of the performance of the opera vocal melody with folk instruments such as Na Zi in the 1930s came into being. The son is mainly spread in the folk music band of Henan, Shandong and Anhui. The performer used the combination of Qi, lip, tongue and hand to imitate the singing roles of the old opera, flower face, niche, Hua Dan, Tsing Yi and other different opera roles. Locals love. For hundreds of years because of no one to organize norms, no text information, “oral heart ” type of teaching methods and other factors, making the folk art is a tribulation on the verge of extinction. The author conducted in-depth study of folk songs, the son of playing techniques