【摘要】：吟誦是聲音的藝術(shù),是學(xué)習(xí)、欣賞與傳播詩(shī)詞文賦的有聲載體,它包含樂(lè)音,具有音樂(lè)性。吟誦的急徐高低有一定規(guī)則可循,通常按照“平長(zhǎng)仄短”、“平高仄低”或“平低仄高”來(lái)吟誦。當(dāng)前的吟誦包括傳統(tǒng)吟誦調(diào)(由師傅帶徒弟口耳相傳下來(lái)的吟誦調(diào),本文主要研究傳統(tǒng)吟誦調(diào))新吟誦及類似于歌唱的新吟唱。本文第一章論述吟誦的定義,關(guān)于吟誦與歌唱的區(qū)別,從方法性、功能性、指向性、本位性等方面加以區(qū)分。第二章論述吟誦的音長(zhǎng)問(wèn)題,發(fā)現(xiàn)非“平長(zhǎng)仄短”的現(xiàn)象約占到三成比例,這就打破了被吟誦界通常視為金科玉律的“平長(zhǎng)仄短”原則。從現(xiàn)象層面總結(jié)出“有控制的自由”這一美學(xué)觀�！白杂伞苯o予吟誦活的生命,是聲情之美的寄托�！翱刂啤鼻『帽ＷC了吟誦的規(guī)范性和藝術(shù)性。第三章論述吟誦的音高,分析了相鄰平仄字之間的音高關(guān)系,一字多音的音腔特征以及平仄字對(duì)應(yīng)音高的旋律音程,并對(duì)秦德祥先生“平直仄曲”的說(shuō)法提出了商榷。每相鄰平仄兩字的旋律音程和每首吟誦的總音域不大,從某種層面上體現(xiàn)出吟誦蘊(yùn)藏著中正平和的美學(xué)特點(diǎn)。吟誦的聲情之美重在情的體悟。情發(fā)于內(nèi),是靈動(dòng)的,具有一定自由度,吟誦因此也具有活態(tài)性質(zhì)。對(duì)吟誦的研究需要建立在大量實(shí)證性考察的基礎(chǔ)之上,從形態(tài)現(xiàn)象中找尋規(guī)律,而現(xiàn)象背后所隱藏的思想則是解釋其為何成形的根本原因。本文是在對(duì)當(dāng)代傳統(tǒng)流派吟誦調(diào)的實(shí)證性研究層面上,就吟誦的定義、音長(zhǎng)及音高的問(wèn)題做了分析,揭示出部分形態(tài)背后的音樂(lè)美學(xué)思想,這也是吟誦的先行研究中長(zhǎng)期被忽略的課題。
[Abstract]:Recitation is the art of sound and the sound carrier of learning, appreciating and spreading poetry and prose. There are certain rules to follow in reciting, usually according to "flat long short", "flat low" or "flat low height" to recite. The current recitation includes the traditional chanting (which is passed down by the teacher with the apprentice's mouth, this paper mainly studies the traditional chanting) and the new singing similar to the singing. The first chapter discusses the definition of recitation, the difference between recitation and singing, from the aspects of method, function, directionality, standard and so on. The second chapter discusses the sound length of recitation, and finds that the phenomenon of non-" flat and narrow short "accounts for about 30%, which breaks the principle of" average length and short ", which is usually regarded as the golden rule in recitation circles. The aesthetic view of "controlled freedom" is summed up from the aspect of phenomenon. Freedom gives a living life and is the sustenance of the beauty of sound. "Control" just guarantees the normative and artistic nature of recitation. The third chapter discusses the pitch of reciting, analyzes the relationship between the pitch of the adjacent Chinese characters, the characteristics of the multi-tone of a word and the melodic interval of the corresponding pitch of the word, and discusses the statement of Mr. Qin Dexiang's "straight and straight". The melodic interval of each contiguous word and the total range of each recitation are not large, which embodies the aesthetic characteristics of Zhongzheng peace in recitation on a certain level. The beauty of the recited voice lies in the understanding of the feeling. Feeling in the inside, is smart, has a certain degree of freedom, reciting, and therefore also has the nature of living. The study of recitation needs to be based on a large number of empirical investigations to find out the law from the phenomenon of form, and the hidden thought behind the phenomenon is the fundamental reason why it is formed. This paper analyzes the definition, length and pitch of recitation from the perspective of the empirical research on the chanting tone of contemporary traditional schools, and reveals the aesthetic thoughts of music behind some of the forms. This is also a subject that has long been neglected in the first study of recitation.
【學(xué)位授予單位】：西安音樂(lè)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2016
【分類號(hào)】：J601

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