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音色是音乐作品诸要素中与直观听感关系最密切者,也是构建音乐作品整体艺术风格之要件,民歌的地方音色更是彰显其区域音乐特质并行使社会文化功能的重要因素。又由于音色语义的模糊性及其难以被定性和定量的特征,导致在现有的记谱方式中无法被记录和描述,因此音色研究又成困扰学界多年的棘手问题。本文以重庆綦江汉族民歌为例,分别从物理音色与结构音色两方面探究其地方音色,其中物理音色包括方言语音与歌者嗓音音色等,结构音色则有衬词组合、核心音调、音程结构、调式结构、声部织体结构音色等,并借助“通用音乐分析系统GMAS(2.0B)”软件对物理音色进行鉴定分析。综合而论,綦江汉族民歌的音色偏于淡和,亮暗基本置于平衡,整体上呈现出质朴爽利,淡和圆润的气质与风格,是巴渝文化与其他多民族文化相互涵化与濡化的结果。
Tone is one of the most important elements in musical compositions that are directly related to intuition and sense of hearing, as well as an essential element in the overall artistic style of musical compositions. Local tone of folk songs is an important factor in highlighting the regional musical traits and exercising social and cultural functions. Due to the fuzziness of tone semantics and its hard-to-be-qualitative and quantitative characteristics, it can not be recorded and described in existing notation. Therefore, tone research has become a thorny problem that has plagued the academic community for many years. Taking Hanjiang national folk songs in Chongqing as an example, this paper explores the local timbre from two aspects: physical timbre and structure timbre. The physical timbre includes dialect speech and singer voice timbre, while the structure timbre includes the combination of lining tone, core pitch, interval structure, Style structure, the voice of the structure of voices and other organizations, and with “Universal Music Analysis System GMAS (2.0B) ” software for physical tone identification analysis. Taken together, Hanjiang folk songs tend to be light in tone, light and dark are basically balanced, showing a simple, mellow, mellow temperament and style as a whole, which is the result of inter-acculturation between the Bayu culture and other multi-ethnic cultures. The result of the change.