从姜白石自度曲看词乐创作中的“音”“韵”关系——兼及宋元“起调毕曲”理论的相关分析

发布时间：2018-04-14 11:36

本文选题：“音”“韵”关系 + 音韵协畅　；参考：《音乐艺术(上海音乐学院学报)》2010年02期

【摘要】：本文以姜白石词调歌曲17首的创作为例,同时结合宋元"起调毕曲"理论的相关分析并作为参照,探讨宋代词调音乐创作中"音""韵"关系的构成特点及度曲法则。文中指出,在姜白石17首词乐作品中,不仅起韵、尾韵、结韵的相对应之音,大多为主音(有三首属"宫调徵起"现象),并且句中韵出现的全部或主要对应于第五级、第六级、第三级、第二级的例子,值得重视,客观上与姜白石词乐创作思维中有意识把握的调式或旋律色彩构成有关。在其作品中,凡起韵、尾韵、结韵一般都记有延长音,其句中韵大多数也记有延长音。本文不是一般地讲"起调"为"起韵"之声,而是指出上、下阕中的"起韵"、"尾韵"、"结韵"和各种句中用韵,呈现有不同现象,并从不同角度反映姜白石如何有意识地在创作中把握"音""韵"关系,从而构成姜白石词乐创作的重要特点。
[Abstract]:Taking 17 songs of Jiang Baishi's ci tune as an example, and combining with the relevant analysis and reference of Song and Yuan Dynasty's theory of "starting tune and completing music", this paper probes into the composing characteristics of the relationship between "sound" and "rhyme" in the creation of ci tune music in Song Dynasty and the principle of degree song.It is pointed out that in Jiang Baishi's 17 ci music works, the corresponding sounds of not only rhyme, final rhyme, and rhyme are mostly the principal sounds (three of them belong to the phenomenon of "Gong Tiao Zheng", and all or most of the rhymes in the sentence are corresponding to the fifth grade, the sixth grade, and so on.The examples of the third level and the second level are worthy of attention and are objectively related to the consciously controlled mode or melodic color composition of Jiang Baishi's ci and music creative thinking.In his works, all rhyme, ending rhyme, rhyme generally have long note, its sentence in rhyme most also have long note.This article does not generally say that "starting tone" is the sound of "rhyme", but points out that there are different phenomena in "rhyme", "final rhyme", "rhyme" and "rhyme" in various sentences.From different angles, it reflects how Jiang Baishi consciously grasps the relation of "sound" and "rhyme" in his creation, thus constituting the important characteristics of Jiang Baishi's ci and music creation.
【作者单位】：中国音乐学院中国音乐史学研究中心;
【分类号】：J612.1

【共引文献】