本文選題：苦音現(xiàn)象　切入點(diǎn)：律制　出處：《天津音樂學(xué)院》2017年碩士論文　論文類型：學(xué)位論文

【摘要】：這篇論文為中國傳統(tǒng)音樂調(diào)式研究,方法論為民族音樂學(xué),記述了筆者對秦樂“歡調(diào)”、“苦調(diào)”以及潮樂“重六調(diào)”、“活五調(diào)”的實(shí)地考察與感性認(rèn)知。本文中,基調(diào)(sol、la、do、re、mi)的概念包含“基調(diào)唱名”與“基調(diào)意識”兩方面:首先,基調(diào)唱名不但是陜甘寧民間地區(qū)的習(xí)慣性唱名,也與潮州二四譜所表音高概念如出一轍(二者所表音高概念既不是首調(diào)概念也不是固定音高概念,而是相對音高的概念),由于唱名sol的核心地位,因此局內(nèi)人習(xí)慣判斷苦音調(diào)試為“徵調(diào)式”;更重要的是,如此唱名習(xí)慣也作為一種意識、驅(qū)使了局內(nèi)人對音樂調(diào)式的控制,比如,文章第二章第一部分提到的秦腔樂師的演奏觀念,又比如第二章第二部分被專業(yè)化固定的潮洲箏定弦律。此外,從局外人角度看,基調(diào)意識也有這么一層含義:在特性音級(重三、重六、活五等)出現(xiàn)之前的曲調(diào)我們稱之為基調(diào)(一般為sol、la、do、re、mi),在特性音級出現(xiàn)時,通過對旋法或音律結(jié)構(gòu)的控制將旋律的調(diào)性控制在基調(diào)和新調(diào)之間,這種“不忘本”地控制調(diào)性的思維也是“基調(diào)意識”的體現(xiàn)。其實(shí),早在前人的觀點(diǎn)中就有過此概念的“雛形”,基調(diào)意識是中國民間傳統(tǒng)音樂人獨(dú)特的建構(gòu)樂曲調(diào)式、布局樂曲調(diào)性的抽象思維。突出地體現(xiàn)在“歡調(diào)”與“苦調(diào)”、“重六調(diào)”、“活五調(diào)”的相互關(guān)系中。實(shí)際上苦調(diào)現(xiàn)象(本文提及的苦調(diào)現(xiàn)象包含重六調(diào)等意)在中國多地均有存在,它們的稱謂不同、嬗變渠道不同,但是在它們背后有著共同的調(diào)式建構(gòu)與調(diào)性布局意識,而并非我等在學(xué)院中學(xué)習(xí)的西方調(diào)式與調(diào)性理論。基調(diào)意識是抽象的音樂思維,也是傳統(tǒng)人文精神的體現(xiàn),例如潮州人的祭祖意識,這也是中國普遍的民間傳統(tǒng)。綜上,文章從具體的苦調(diào)理論和苦調(diào)音樂入手,通過理論綜述與音樂本體分析和人文精神分析研究其背后的基調(diào)思維。論文第一部分為苦調(diào)現(xiàn)象的定性研究,主要是歸納演繹苦音現(xiàn)象的局外之說;第二部分為苦音現(xiàn)象的局內(nèi)“徵調(diào)”形式分析;第三部分為苦音現(xiàn)象的旋法特征與文化內(nèi)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.
【學(xué)位授予單位】：天津音樂學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J613.6

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