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本文针对浙江民间器乐曲中“合头”与“合尾”的音乐形态展开研究并获得以下结论:浙江民间器乐曲中的“合头”、“合尾”既有基本形态又有复杂形态,基本形态为乐句之间的“头”、“尾”相合,“头”、“尾”的结构规模是乐逗或乐节,严格的处理要求“头”、“尾”的形态特征严格一致,自由的处理允许“头”、“尾”的形态特征既有保留又有变化,后者音乐形态可根据变奏手段进一步细分;复杂形态是基本形态的扩大化和复杂化,以“循环式合头”与“循环式合尾”为代表,表现为乐曲(或曲牌)之间的“头”、“尾”相合,“头”、“尾”的结构规模小可为乐逗、大可至乐段,既有严格的处理又有自由的处理,音乐形态可根据“头”、“尾”的结构规模进一步细分。
In this paper, we study on the music patterns of “folk song” and “amalgamation” in the folk songs of Zhejiang and get the following conclusions: The “folk song” and “amalgamation” in Zhejiang folk song are both There are basic forms and complex forms. The basic form is that the structure scale of “”, “tail ”, “head ” and “tail The treatment requires that the morphological characteristics of ”head“ and ”tail“ be strictly consistent and that the free treatment allows both the morphological characteristics of ”head“ and ”tail“ to be preserved and changed, And further subdivided according to the variations. Complicated forms are the enlargement and complication of the basic forms, which are represented by ”Circles and Circles “ ”Tail “, ”head “, ”tail “ of the small size of the structure can be amused, from big to lame, both the strict treatment and free treatment, Music patterns can be further subdivided according to the structure size of ”head “ and ”tail ".