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一首民歌,其风格特征的体现,是多方面的,从音调到节奏,从吐字到润腔,乃至词结构、曲结构,无不是构成其“特征”的参项。音调、节奏对“特征”构成的影响,具有首要的直接效应,曲式结构,作为音乐构成要素之一,其影响是隐性的、深层的。 居住在广西境内的仫佬民族,世代传唱的民歌从那长短不一的唱词、灵活多变的歌腔中,透释出独特的风格和韵味。仫佬族民歌均是二声部的,音调质朴,节奏自由,具有严格而丰富多样的句法结构。 这是仫佬族民歌中最常用的四句腔,七言四句(也可以是3777形式),词虽方整,曲调却是短长参差,节奏上先紧后松,字密腔长,句式极不方整。句法结构有较大的随意性。然而,不能忽略,它们是声部民歌,两人的配合默契,必然是有章可循的,除上从谱面上看到的,低声部起句常晚于高声部几拍,以求合上(跟上)之外,还有什么奥秘吗?
A folk song, its style and characteristics of the embodiment, is multifaceted, from tone to rhythm, from the word to Run cavities, and even the word structure, song structure, are not all its “characteristics” of the parameters. The influence of pitch and rhythm on the composition of “features” has the primary direct effect and the structure of music. As one of the musical compositional elements, its influence is implicit and deep. Mulao people living in Guangxi territory, the folk songs sung from generation to generation, from the different length of the lyrics, versatile song, through the release of a unique style and charm. Mulam folk songs are two voices, simple tone, free rhythm, with a strict and rich variety of syntactic structure. This is the most commonly used in Mulao folk songs four cavities, seven words and four sentences (also can be 3777 form), although the whole word, the melody is short and long, the rhythm on the loose, Sentence style is not square. Syntactic structure has greater randomness. However, they can not be ignored. They are the folk songs of the voices. The cooperation between the two is bound to follow. In addition to the above, Seeking to close (keep up), what is the mystery?