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中国民歌旋律是华夏民族以“五声性调式”听觉为主的依据和佐证,也是中国音乐文化的“源头”之一,其产生、发展、演变,深受华夏古老哲理、宗教、民族学、民俗学、人类学、语言学的浸染。民歌旋律不只是一般意义上的横向性展演,在其行进的旋律内部,同样也存在着纵向的结构元素,这种特定文化观念下的线性思维和与其协调的纵向元素的存在,决定着中国风格旋律的有序发展。由此可见,对民歌旋律的研究,不仅需要运用音乐本体知识,进行音乐文本诠释,更需要运用人类学科知识体系,进行民族文化积淀成因的历史考源。这样才能从民歌旋律中梳理出有理有据的和声结构思维特征与理论法则,为民族音乐理论的进一步深入研究打开瓶颈。
The Chinese folk songs are the basis and evidence of the “five accent tone” sounds of the Chinese nation and one of the “origins” of Chinese music and culture. The emergence, development and evolution of Chinese folk songs are well received by the ancient Chinese philosophies and religions , Ethnology, folklore, anthropology, linguistics. The melody of folk songs is not only a horizontal exhibition in the general sense, but also has longitudinal structural elements within the melody of its movement. The linear thinking under this particular cultural concept and the coordination of its longitudinal elements determine the Chinese style Melody and orderly development. Thus it can be seen that the study of the melody of folk songs not only requires the use of the knowledge of musical ontology and interpretation of musical texts, but also the historical source of the causes of the accumulation of national culture by using the human subject knowledge system. Only in this way can we sort out the well-structured thinking features and theoretical rules of harmonic structure from the folk song melody and open the bottleneck for the further study of the theory of folk music.