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从丰富多采的荆楚民间音乐中,可抽象,提炼出一个风格浓郁的特性音调——即由大二度与纯四度结合进行的“二四音调结构”。它是楚地民间音乐音调现象的高度概括,也从本质上反映了当地人民的音乐思维逻辑。这一古老的音调结构流传已久,《文选》录宋玉《答楚王问》中有“引商(re)刻羽(la)“、”杂以流徵(sol)”的记载。历史长河虽屡经变迁,它通过世代口头传承,仍顽强地存活在江汉平原的地方语音与民间音乐之中。
From the rich and varied folk music of Jing and Chu, we can abstract and abstract a rich and characteristic tone - the “two-four-tone structure” which is made by combining sophomore and pure four degrees. It is a high degree of generalization of the folk music tone phenomenon in the Chu region and also essentially reflects the logic of music thinking of the local people. This ancient tone structure has been circulating for a long time. In “Wenxuan” recording of Song Yu’s “Qiu Wang,” there are “re” (la) and “sol” records. Although the long river of history has undergone repeated changes, it has remained tenaciously alive in the local phonetics and folk music of the Jianghan Plain through its oral traditions from generation to generation.