尚存的民族调式建构思维—秦乐与潮乐基调意识探究

发布时间：2018-03-05 05:35

本文选题：苦音现象　切入点：律制　出处：《天津音乐学院》2017年硕士论文　论文类型：学位论文

【摘要】：这篇论文为中国传统音乐调式研究,方法论为民族音乐学,记述了笔者对秦乐“欢调”、“苦调”以及潮乐“重六调”、“活五调”的实地考察与感性认知。本文中,基调(sol、la、do、re、mi)的概念包含“基调唱名”与“基调意识”两方面:首先,基调唱名不但是陕甘宁民间地区的习惯性唱名,也与潮州二四谱所表音高概念如出一辙(二者所表音高概念既不是首调概念也不是固定音高概念,而是相对音高的概念),由于唱名sol的核心地位,因此局内人习惯判断苦音调试为“徵调式”;更重要的是,如此唱名习惯也作为一种意识、驱使了局内人对音乐调式的控制,比如,文章第二章第一部分提到的秦腔乐师的演奏观念,又比如第二章第二部分被专业化固定的潮洲筝定弦律。此外,从局外人角度看,基调意识也有这么一层含义:在特性音级(重三、重六、活五等)出现之前的曲调我们称之为基调(一般为sol、la、do、re、mi),在特性音级出现时,通过对旋法或音律结构的控制将旋律的调性控制在基调和新调之间,这种“不忘本”地控制调性的思维也是“基调意识”的体现。其实,早在前人的观点中就有过此概念的“雏形”,基调意识是中国民间传统音乐人独特的建构乐曲调式、布局乐曲调性的抽象思维。突出地体现在“欢调”与“苦调”、“重六调”、“活五调”的相互关系中。实际上苦调现象(本文提及的苦调现象包含重六调等意)在中国多地均有存在,它们的称谓不同、嬗变渠道不同,但是在它们背后有着共同的调式建构与调性布局意识,而并非我等在学院中学习的西方调式与调性理论。基调意识是抽象的音乐思维,也是传统人文精神的体现,例如潮州人的祭祖意识,这也是中国普遍的民间传统。综上,文章从具体的苦调理论和苦调音乐入手,通过理论综述与音乐本体分析和人文精神分析研究其背后的基调思维。论文第一部分为苦调现象的定性研究,主要是归纳演绎苦音现象的局外之说;第二部分为苦音现象的局内“徵调”形式分析;第三部分为苦音现象的旋法特征与文化内涵。
[Abstract]:This paper is a study of Chinese traditional music mode and methodology of ethnomusicology. It describes the author's field investigation and perceptual cognition on Qin Yue's "Huan tune", "bitter tune" and Chao music's "heavy six tones" and "living five tones". The concept of "tone singing" and "tone consciousness" includes two aspects: first, the name of tone singing is not only the habitual name of Shaanxi, Gansu-Ningxia folk area, but also the concept of "tone consciousness". It is similar to the concept of sound height in Chaozhou 24 spectrum (the two concepts are neither the first tone nor the fixed pitch, but the relative pitch, because of the core position of sol. Therefore, insiders are used to judging the bitter tone to be "tone style"; more importantly, this habit of singing names is also used as a kind of consciousness, which drives the insider to control the musical mode, for example, In the first part of the second chapter, I talk about the musical idea of Qin Opera musicians, for example, the second part of the second chapter is fixed by the specialized Chaozhou Zheng. In addition, from an outsider's point of view, Tone awareness also has a meaning: the tunes that preceded the emergence of the characteristic sound levels (three, six, five, etc.) we call them the tone (usually solladium dodoremiao), when the characteristic sound level appears. Through the control of the rotation method or the rhythmic structure, the tonal nature of the melody is controlled between the tone and the new tone, and the thought of not forgetting to control the tonality is also the embodiment of the "tone consciousness". There has been an "embryonic form" of this concept as early as in the previous views, and the tone consciousness is the unique mode of constructing music for the Chinese traditional musicians. Abstract thinking of the tone of the layout music. Prominently reflected in the interrelationship between "Huan" and "bitter tone", "heavy six tones", "living five tones". In fact, the bitter tone phenomenon (the bitter tone phenomenon mentioned in this paper contains the meaning of "heavy six tones" etc.) exists in many places in China. They have different appellations and different transmutation channels, but they have a common sense of mode construction and tonal layout behind them, rather than the western theories of tone and tonality that I and I have been studying in the college. It is also the embodiment of the traditional humanistic spirit, such as the ancestral worship consciousness of Chaozhou people, which is also a popular folk tradition in China. The first part of the thesis is the qualitative research on the phenomenon of bitter tone, which is mainly to sum up the theory of the phenomenon of deduce bitter tone. The second part is the form analysis of the phenomenon of bitter sound, and the third part is about the characteristics and cultural connotation of the phenomenon of bitter sound.
【学位授予单位】：天津音乐学院
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J613.6

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