中華文明的藝術(shù)奇葩——民歌（上）

文/五花肉

民歌歷史悠久綿長，早在原始社會的狩獵、祭祀活動中就出現(xiàn)了民歌的雛形。經(jīng)過漫長的演變，民歌已經(jīng)呈現(xiàn)出百花齊放態(tài)勢，形成了具有鮮明地域風(fēng)格的“標(biāo)準(zhǔn)”體系。

The Chinese folk songs have a long history. The embryonic form of Chinese folk songs can be traced back to hunting and ritual activities in primitive society. After evolution over the passage of time,Chinese folk songs became more mixed and diverse,which gradually formed the "standard" system with distinct regional styles.

鮮明的地域文化 Distinct Regional Culture

民歌的發(fā)展有3個重要的歷史時期。春秋時期，我國最早的一部民歌歌詞集《詩經(jīng)》問世。漢魏時期，官方音樂機(jī)構(gòu)“樂府”的設(shè)立，進(jìn)一步促進(jìn)了民歌的規(guī)范和發(fā)展，誕生了以《孔雀東南飛》、《木蘭辭》為代表的優(yōu)秀敘事民歌作品。到了明代，民歌迎來了又一個巔峰期，初步形成勞動號子、山歌、小調(diào)三種具有鮮明地域文化烙印的體系：北方號子粗獷剛勁，西域山歌風(fēng)情濃烈，江南小調(diào)委婉悠長。

There are three important historical periods in the development of folk songs. In the Spring and Autumn Period,Book of Songs, the oldest existing collection of Chinese poetry came out. In Han dynasty, the establishment of Music Bureau "Yuefu" further promoted the standardization and development of Chinese folk songs. In Han, Wei and Six dynasties, it generated lots of great narrative folk songs represented asA Peacock Southeast FlewandBallad of Mulan.In Ming Dynasty, folk songs ushered in another peak, it formed haozi, mountain song and folk ditty,which features distinct culture characteristic. Haozi in northern China are vigorous and forceful; Mountain songs in western China are full of local customs; The folk ditties in northern China are subtle and lingering.

結(jié)構(gòu)的韻律之美 The Beauty of the Rhythm in Structure

在數(shù)千年的演化過程中，民歌的聲樂結(jié)構(gòu)也逐漸形成了一套特定的“標(biāo)準(zhǔn)”，包括呼應(yīng)體、三部體和循環(huán)體三種結(jié)構(gòu)。

During the thousands of years' evolution, Chinese folk songs has formed a specific set of standards in musical forms including call and response form,ternary form and cyclical form.

呼應(yīng)體以信天游為代表，“呼”為上句、“應(yīng)”為下句，上下呼應(yīng)，造就平衡的韻律之美；三部體，又稱“起平落”體，由舒緩輕快的“起”部、節(jié)奏鮮明的“平”部以及舒緩?fù)褶D(zhuǎn)的“落”部組成，多用于山歌創(chuàng)作；循環(huán)體，多在一段主體音樂中插入其他曲調(diào)，形成“回旋曲”式結(jié)構(gòu)，增強(qiáng)歌曲的表現(xiàn)力，代表作嗩吶曲《百鳥朝鳳》耳熟能詳，常見于民間舞樂。

Call and response form is represented by "Xintianyou".The "call" part is the first sentence while the"response" part is the corresponding sentence, which creates the beauty of balanced rhythm. The ternary form, also known as rise-flat-fall form, consists of three parts, namely rise part; fl at part and fall part. The rise part is soothing and lighthearted. The fl at part is rhythmic. The fall part is delicate. The ternary form is usually applied to mountain songs. The cyclical form,namely the form where some melody is inserted into the main body to strengthen the performance of music.The familiar magnum opus,the Hundreds of Birds Worshipping The phoenixaccompanied by suona, is common in folk dancing and music.

獨(dú)特的同宗民歌 Distinctive folk songs with consanguinity

民歌在異地傳播過程中，會根據(jù)不同地區(qū)的審美情趣進(jìn)行二次創(chuàng)作，形成“同宗民歌”這種獨(dú)特的文化現(xiàn)象。把詞曲、結(jié)構(gòu)、襯詞的異同作為劃分標(biāo)準(zhǔn)，同宗民歌可分為詞曲大同小異、詞同曲異、曲同詞異等六種類型。享譽(yù)世界的《茉莉花》，就是詞曲大同小異型同宗民歌的代表：江蘇版本的《茉莉花》旋律委婉；山西版本的《茉莉花》采用民族七聲清樂調(diào)式，加入了4、7二音；寧夏版本的《茉莉花》則選擇民族六聲調(diào)式，將4音微微升高，形成一個上滑的游移音，表現(xiàn)歌曲感情色彩的變化。

During the transmission in other places, it led variations and developments in folk songs over the passage of time according to the aesthetic taste of the different places, which become a very distinct cultural phenomenon called folk songs with consanguinity.The consanguinity songs fall into six types in accordance with lyrics and melodies; structures and lining words, including same lyrics but different melodies; and same melodies but different lyrics. The world-renowned songThe Jasmine Floweris a typical folk songs with consanguinity, which is form of same lyrics but different melodies.The Jasmine Flowerin Jiangsu version is euphemistic;The Jasmine Flowerin Shanxi version uses the seven notes of China's ancient heptatonic scale, adding Fa and Ti;The Jasmine Flowerin Ningxia version uses six notes of China's ancient hexatone scale. The wavering tone caused by slightly raising Fa expresses the emotional change in the song.

結(jié) 語 Conclusion

充分汲取地域文化的民歌，用自成體系的“標(biāo)準(zhǔn)化”聲樂結(jié)構(gòu)和演繹方法，詮釋了中華民族獨(dú)特的審美情趣，成為世界音樂藝術(shù)寶庫中一顆熠熠生輝的明珠。

Fully absorbing the regional cultures, Chinese folk songs establish its own standard musical forms and performances to interpret distinct aesthetic appeal of the Chinese nation, and become one of bright pearl in the world art treasure.