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“朝元”即返始,五调朝元、三十五调朝元是民间音乐中重要的转调及变奏手法,但是由于目前学术界对这个问题存在错误认知,将逐步导致此种手法无法实践。本文以实践为依据,通过对《花池》进行记谱分析并进行必要的测音,还“朝元”以真实面目,以便通过理论总结可以使这种手法继续为音乐实践服务。对三十五调朝元的正确认知也对历史上一直有争议的二十八调理论也有一定的启发作用。
“Chaoyuan ” is the beginning, the five Chaoshao Yuan, thirty-five tune Chao Yuan is an important transfer and variation in folk music, but due to the current academic circles there is a misunderstanding of this issue, will gradually lead to this Practice can not practice. This article is based on practice. Through the analysis of the “Huachi” and the necessary measurement, we can also use “Chaoyuan” to be true, so that the theory can continue to serve the musical practice. The correct understanding of the Thirty-Five Diaozhao Yuan also has some enlightenment on the controversial 28 Tone Theory in history.