如歌、如泣、如诉:“楚调唐音”歌吟近体诗之音乐特性
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摘要
"楚调唐音"歌吟(江西省非物质文化遗产)是我国传统吟诵众多流派中的一个重要分支。歌吟作为中华文化的一种回归,它将有形的文字转化为声音,进而艺术化、人文化。通过对当代唯一传承人的歌吟曲谱的采集及口传记录,依据"楚调唐音"歌吟在同一首诗(词)中可分别采用如歌、如诉、如泣三种吟唱模式的特性,选取近体格律诗的歌吟曲谱为音乐分析对象,探寻总结其歌吟之基本规律,为丰富吟诵音乐形态的地域研究提供参考。
poetry singing with "Chu tune and the singing style in the Tang dynasty(an intangible cultural heritage of Jiangxi province) is an important branch of China's traditional recitation genres. Poetry singing as a return of the Chinese culture, it turns the visible text into voice and makes it artistic and humanized. The author started the work of adopting the tune and the oral record of the contemporary sole inheritor, according to the characteristics of 3 singing styles of singing, weeping and saying of "Chu tune and the singing style in the Tang dynasty". It selected modern style poetry to analyze, and summarize the basic rules of the poetry singing, so as to provide reference for regional research of chanting music patterns.
poetry singing with "Chu tune and the singing style in the Tang dynasty(an intangible cultural heritage of Jiangxi province) is an important branch of China's traditional recitation genres. Poetry singing as a return of the Chinese culture, it turns the visible text into voice and makes it artistic and humanized. The author started the work of adopting the tune and the oral record of the contemporary sole inheritor, according to the characteristics of 3 singing styles of singing, weeping and saying of "Chu tune and the singing style in the Tang dynasty". It selected modern style poetry to analyze, and summarize the basic rules of the poetry singing, so as to provide reference for regional research of chanting music patterns.
引文
(1)朱光潜.诗论[M].第8页.北京:人民出版社,2010.7。
(2)叶青.国家级非物质文化遗产楚调唐音歌吟初探[J].艺术百家,2013.5。
(1)任半塘.唐声诗[M].第一章第15页.上海:上海古籍出版社,2006.6。
(2)任半塘.唐声诗[M].第6页.上海:上海古籍出版社,2006.6。
(3)朱光潜.诗论[M].第99页.北京:人民出版社,2010.7。
(1)朱光潜.诗论[M].第100页.北京:人民出版社,2010.7。
(2)(南宋)王灼.碧鸡漫志·卷第一[M].第52页.古籍拓印。
(3)刘尧民.词与音乐[M].第191页.昆明:云南人民出版社,1982。
(1)江赟.楚调“唐音”歌吟源流及其基本特点[J].江西科技师范大学学报,2013.10。
(1)江赟.楚调“唐音”歌吟源流及其基本特点[J].江西科技师范大学学报,2013.10。
(1)江赟.楚调“唐音”歌吟源流及其基本特点[J].江西科技师范大学学报,2013.10。
(2)秦德祥.“尾腔”---吟诵音调的标记性特征[J].中央音乐学院学报(季刊),2002.3。
(1)秦德祥.吟诵的“文人民歌说”-音乐视野中的古典诗词吟诵[J].中国音乐(季刊),2010.3。
(2)桑德诺瓦.云南藏传佛教音乐的形态特征[J].中国音乐,2013.4。
(1)华锋.论古典诗词的吟咏[J].河南大学学报(社会科学版),1999.5。
(2)叶青.国家级非物质文化遗产楚调唐音歌吟初探[J].艺术百家,2013.5。
(1)任半塘.唐声诗[M].第一章第15页.上海:上海古籍出版社,2006.6。
(2)任半塘.唐声诗[M].第6页.上海:上海古籍出版社,2006.6。
(3)朱光潜.诗论[M].第99页.北京:人民出版社,2010.7。
(1)朱光潜.诗论[M].第100页.北京:人民出版社,2010.7。
(2)(南宋)王灼.碧鸡漫志·卷第一[M].第52页.古籍拓印。
(3)刘尧民.词与音乐[M].第191页.昆明:云南人民出版社,1982。
(1)江赟.楚调“唐音”歌吟源流及其基本特点[J].江西科技师范大学学报,2013.10。
(1)江赟.楚调“唐音”歌吟源流及其基本特点[J].江西科技师范大学学报,2013.10。
(1)江赟.楚调“唐音”歌吟源流及其基本特点[J].江西科技师范大学学报,2013.10。
(2)秦德祥.“尾腔”---吟诵音调的标记性特征[J].中央音乐学院学报(季刊),2002.3。
(1)秦德祥.吟诵的“文人民歌说”-音乐视野中的古典诗词吟诵[J].中国音乐(季刊),2010.3。
(2)桑德诺瓦.云南藏传佛教音乐的形态特征[J].中国音乐,2013.4。
(1)华锋.论古典诗词的吟咏[J].河南大学学报(社会科学版),1999.5。