陕北大唢呐音乐调名初解
发布时间：2018-11-11 07:44
【摘要】：陕北大唢呐音乐包含"本调、凡调、甲调、梅花调、背宫调、四字调、六字调"七个调名。通过七调调名与指法的对应关系,陕北大唢呐音乐七个调名对应不同的筒音,并有相应的指法,是建立在七个调高上,可循环往复演奏"七宫还原"的意义。通过与历史文献所载调名的比对,陕北大唢呐音乐调名与定调符合工尺七调的标准。其演奏实践又有重"四宫"的情况。
[Abstract]:The music of northern Shaanxi suona contains seven dialogs: the original tune, the Fan tune, the A tune, the plum blossom tune, the back palace tune, the four character tone, and the six character tone. Through the corresponding relationship between the seven dialogs and the finger method, the seven dialogs of the Northern Shaanxi suona music correspond to different barrel sounds and have the corresponding finger method, which is based on the seven adjustments and can be used to play the meaning of "the Seven Palace Restoration". By comparing with the dionym recorded in the historical literature, it is found that the tunes of the music of the Northern Shaanxi suona are in accordance with the standard of the seven tones of the gongqi. Its performance practice has the heavy "four houses" situation.
【作者单位】： 山西大学音乐学院;
【基金】：北京市哲学社会科学规划课题“明代礼仪制度用乐研究”(14JDWYB002)成果之一
【分类号】：J632.14
本文编号：2324212
[Abstract]:The music of northern Shaanxi suona contains seven dialogs: the original tune, the Fan tune, the A tune, the plum blossom tune, the back palace tune, the four character tone, and the six character tone. Through the corresponding relationship between the seven dialogs and the finger method, the seven dialogs of the Northern Shaanxi suona music correspond to different barrel sounds and have the corresponding finger method, which is based on the seven adjustments and can be used to play the meaning of "the Seven Palace Restoration". By comparing with the dionym recorded in the historical literature, it is found that the tunes of the music of the Northern Shaanxi suona are in accordance with the standard of the seven tones of the gongqi. Its performance practice has the heavy "four houses" situation.
【作者单位】： 山西大学音乐学院;
【基金】：北京市哲学社会科学规划课题“明代礼仪制度用乐研究”(14JDWYB002)成果之一
【分类号】：J632.14
【相似文献】
相关期刊论文 前6条
1 胡慧声;唢呐的——调名、定调和转调[J];中国音乐;1984年01期
2 王福利;从曲调名看元朝俗乐曲的继承与发展[J];徐州师范大学学报;2004年02期
3 陈应时;传统调名中的“之调”和“为调”[J];中国音乐;1982年02期
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6 郑荣达;工尺七调别论[J];黄钟(中国.武汉音乐学院学报);2003年03期
，本文编号：2324212
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