“啭歌”“喉啭”:佛教咏经梵呗与汉唐歌演新声

发布时间：2018-05-15 17:03

本文选题：印度声明 + 魏晋梵呗　；参考：《中央音乐学院学报》2017年02期

【摘要】：从印度声明"二十四啭",经汉译佛经的总结,到宋、明"啭"歌之法的进一步发挥,其间所延续的依字调行腔的歌唱审美范式,是将"三合转舌引"的反切启发为"头腹尾音之毕匀"的"转读",佛教的依声调颂经张扬了变文俗讲依四声"转腔"的音乐性。"喉啭"是以特殊的喉咙状态发出持续低音和超高泛音的发声方法,魏晋源于西域地区的"喉啭引声"、唐代"响传百陌"的宫廷"新声"与宋元以讫戏曲角色的"吼唱"及今藏传佛教中格鲁派喇嘛独特的歌唱法choral singing及蒙古人所传的潮尔(chour)有发生学联系。该唱法应与当今流传于欧亚大陆的喉歌唱法有联系。佛教在将"喉啭"之法吸收为诵读的"梵呗"传入中国后,对中国语言文学的反切的认知,对于中国戏曲唱法及"唱-腔"二分的形成,产生了深刻的影响。
[Abstract]:From the Indian proclamation of "24 songs", the summation of Buddhist scriptures translated into Chinese, to the further development of the Song and Ming songs, the aesthetic pattern of singing according to the line of words continued during that time. It is to enlighten the reverse tangent of "the three heals and turn the tongue" into "the head, abdomen, and the end of the tone," and the Buddhist chanting according to the tone makes known the musicality of changing the prose and the vulgarity according to the four tones. " Larynx "is a way of producing persistent bass and super-high overtone in a particular throat state." Wei and Jin dynasties originated from the "throat singing" in the Western region, the palace "new voice" of Tang Dynasty "Xiangzhuan Baimo" and the "roar singing" in the Song and Yuan dynasties, and the unique singing method of the Gru-sect Lama in Tibetan Buddhism, choral singing and Mongolians' biography. There is a phylogenetic relationship. This singing method should be related to the laryngeal singing method which is popular in Eurasia today. After Buddhism absorbed the "song of throat" method into the chanting "Brahma" and introduced it into China, it had a profound influence on the formation of the Chinese opera singing method and the duality of "singing and singing" by the reverse cognition of Chinese language and literature.
【作者单位】：河南大学艺术学院;
【基金】：2015年度河南省教育厅哲学社会科学基础研究重大项目《河南戏曲声腔数据库建设与研究——以声腔、行当唱法、意识习俗为中心》(2015-JCZD-019) 2016年度河南省社科规划项目《豫剧专业音乐创作问题研究》的阶段性成果
【分类号】：J609.2

【参考文献】