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一九八一年第二期《南艺学报》上,刊登了乔惟进同志题为《歌曲中的调式对比》一文。恭读之余,受益非浅。但也觉得有些地方不无商榷之处。文章:“二、民族调式之间的对比”作者列举了《三杯美酒敬亲人》一歌,作了曲体与调式的分析:“此曲为三段体,第一段是羽调式,……,第三段再现时仍是羽调式,但在羽音上停留较短,立即又转到徵调式的一个补充乐句上去了,最后在徵音上结束,颇有情真意实,绵绵不断之感。调式的转换既在情理之中,又出呼意料之外”。这样一段论述。
In the second issue of “Nanyue Journal” in 1981, Comrade Qiao Weijin published the article titled “Contrast in the Songs”. Christine read more than benefited. But I also think there is no doubt that some places are not open to question. The article: “Second, the contrast between ethnic style,” the author cited the “three glasses of wine relatives,” a song, made the body and tone analysis: “This song is three sections, the first paragraph is plume, ... ..., the third paragraph reproduction is still feather style, but stays in the feather tone shorter, and immediately transferred to the recruitment of a supplementary phrase up, and finally the end of the vocals, quite true and false, continuous feeling. Mode conversion is not only in reason, but also called unexpected ”. Such a discussion.