楚雄彝族火把节民歌音乐形态探析
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摘要
楚雄彝族火把节民歌是彝族文化的重要组成部分,同时也体现出了彝族音乐文化的深刻痕迹与属性。本文通过对近100首楚雄彝族火把节民歌的收集与整理,着重探讨火把节民歌的音乐形态特点,包括曲式结构、调式调性、旋法旋线、节拍节奏、唱词特点、演唱形式等。总结出火把节民歌在其音乐形态上的独特之处,展现楚雄彝族火把节民歌的珍贵艺术魅力。
The folk music of the Torch Festival of the Yi in Chuxiong is an important part of Yi Culture. It also reflects the depth and nature of the music culture of the Yi. This article researches the characteristics of the musical form of the folk songs of the Torch Festival by collecting and collating nearly 100 folk songs of the Torch Festival of the Chuxiong Yi. The research includes analyzing the musical structure,mode and tonality,the melody methods and melody lines, meter and rhythm,characteristics of the lyrics,the singing forms and other aspects. This article concludes that the unique characteristics of the music forms of the Torch Festival reveal the precious art and charm of the Torch Festival of the Chuxiong Yi.The folk music of the Torch Festival of the Chuxiong Yi is a colorful and beautiful page among the numerous folk customs of the Torch Festival of the Chuxiong Yi. This is because in this special field,the music reflects the life and history of the Chuxiong Yi people in the past,and transmits the happiness and vision of that day. The folk songs of the Torch Festival are not only closely connected with the content and process of Torch Festival customs,but they also fully illustrate the unadorned,enthusiastic and open character of the Yi of Chuxiong. As a "name card"for the the Torch Festival,the folk music of the Torch Festival can be compared to a budding flower of the intangible cultural heritage of our country. According to the cultural connotations of the Yi Torch Festival,and the current manifestation of the forms of the folk songs of the Torch Festival of Chuxiong Yi,these folk songs can be divided into fire songs,ancient songs of worship ceremonial songs,dance songs,customary drinking songs and love songs. The formationof the musical forms of the folk songs of the Torch Festival of Chuxiong Yi is closely linked with the social life of the Chuxiong Yi. In the long-term singing practice, the Chuxiong Yi reasonably,flexibly and creatively use melody,scale,mode,tonality,rhythm,meter,timbre,and singing and all kinds of music forms and their transitions..I. Musical Structure: Taking the "Meter Type Transformation"as the core and the Diverse Musical Structure as Supplementary In the folk songs of the Torch Festival of Chuxiong Yi,the musical structure of most of the folk songs is multi-phased. It takes shifts in meter and rhythmic pattern as the main method of change,with one theme running throughout. Even though some of the folk music have two or three short phrases,in general,the phrases will be repeated. For the folk songs with this kind of musical structure,the number of the words in each phrase is the same,and the phrase is represented by a clear and neat structure. This reflects the personality characteristics of the Chuxiong Yi—their pursuit of integrity and symmetry. This kind of musical structure,which is found in the folk songs of the Torch Festival,is nearly the same as the musical structure of folk songs of other ethnic minorities in China.As the diversity of their lives developed,the musical structure of the folk songs of the Torch Festival of the Chuxiong Yi also diversified. One of these is a folk song consisting of a one-part form.In this kind of Torch Festival folk song, two,three,four or more phrases are composed into different structures. The most common is one in which the structure is made-up of four phrases,led by the "introduction,the clarification which is thechange to another viewpoint,and the resolution"of the high and low phrases. Another kind of musical structure is the strophic form. The musical structure of this kind of folk songs can be regarded as a composition of verse and chorus. The Torch Festival folk songs having this kind of musical structure repeatedly use the same melody to sing different contents,or use a longer melody to sing a complete lyric. The change to such a musical form leads to a strong color contrast of the tune and melody,and emotional fluctuation,thus increasing the expressive force of the folk song music of the Torch Festival.II. Mode and Tonality: Taking the Chinese National Five-Tone Mode as the Core together with a Tonality Characterized by Rich Color According to the traditional analysis of mode,the mode of the folk songs of the Torch Festival complies with the general characteristic of Yi music. This is because it takes the five-tone scale,that is "Do,Re,Mi,Sol,La ",as the principal scale. This is less partial and more like the Yu Mode( a note from the ancient Chinese five-tone scale; the others are Gong,Shang,Jiao,and Zhi).In addition,there are a small number of hexatonic scales and heptachord scales. The mode under the tetrachord scale is largely absent from the folk songs of the Torch Festival. According to conclusions of the music scores of the Torch Festival folk songs,among the various kinds of musical modes of folk songs,the Yu Mode is the most common,followed by the Gong, Zhi,Shang and Jiao Modes. With regard to tonality,the tonality of the Torch Festival folk songs is unified. A song maintains the same minor cords from the beginning to the end,and there is less modulation and transitional phenomena. If we classify the Torch Festival folk songs according to tonality characteristics,they can be divided into talking and singing,mountain songs,and minor scale songs of different tonality.III. Melody Rules and Melody Lines: the Rules of Melody are Varied and Complex,and the Melody Lines are Brilliant The voice ranges of the folk songs of the Torch Festival are wide. Most of them are within 10 degrees,and a small part of them can reach over 12 degrees. When the melody is ascending,it sometimes adopts a forward and circuitous method to show a gentle wavering state; it sometimes adopts a fierce rising method to show a concentrated wavering state. When the melody is descending,sometimes it is rapid,and sometimes slow,or sometimes it descends like a ladder or waves. The melody of the folk songs of the Torch Festival prefers to plunge. The most common are 2,3,4 and Perfect Fourth and Perfect Fifth plunging. The melody lines of the folk songs of the Torch Festival of the Yi go up and down. They are varied and colorful and make large use of lining tunes,prolongation tunes,tunes that slide down,ornamental tunes and neutral tones and other musical elements.IV. Meter and Rhythm: Form the Characteristic of Diversity and Complexity As for meter used in the folk songs of the Torch Festival,the meter types include all kinds of ones frequently-used: single meter,compound meter,irregular meter,a changing meter,scattered meter,etc. We extracted 86 frequently-sung songs from the folk songs of the Torch Festival of Chuxiong Yi and analyzed them using SPSS software.We found that the folk songs composed by 2/4 meter were the maximum number,followed by 3/4 meter,and then,irregular change meter of 2/4 meter and 3/4 meter,and then 3/8 meter and even the irregular change meter of 3/8 meter and 6/8 meter. The use of these irregular change meters interrupts the upright and neat property of the music,as well as the balance between the single meter and compound meter. It creates a specific freshness and dynamic property in the rhythm of music,which are good for the development of the folk music and melody of the Torch Festival. This meter which integrates both diversity and complexity is the special highlight for the folk songs of the Torch Festival of Chuxiong Yi.V. Characteristics of the Lyrics: Integrating both Long and Short Forms,and Neat and Dispersed and Differing Forms The lyrics of the folk songs of the Torch Festival are rich,and the primary lyrics and supplementary lyrics have their own characteristics. For the primary lyric,the first thing is the length. The lyrics of the folk songs of the Torch Festival ofChuxiong Yi differ in length. There are three words and two phrases,five words and four phrases and other uneven long and short lyrics. The second thing is the "aria"structure. The aria structure of the lyric mainly includes three forms: the first form is the "opening tune/tune singing + main part/singing the authentic tune + accompanying tune/epilogue". The second form is the "main part/singing the authentic tune + accompanying tune/epilogue". The third form is the"alternation of the conduction of the accompanying function lyric and presiding notional lyric". The last is the characteristic of the rhymes of the lyrics.The lyrics of the folk songs of the Torch Festival of the Chuxiong Yi are very particular about rhyme. The main four rhyme forms are rhymes at the beginning of the phrase,rhymes at the end of the phrase,rhymes within the phrase and rhymes at the top within the phrase. The rhymes at the top or head of the phrase include the ABAB Form,AABB Form. The rhymes found at the end of the phrase includes the AABB,and AABA form. The rhyme within the phrase usually includes one form:the middle word( internal rhyme) of the first lyric rhymes with the middle word internal rhyme of the second lyric; the primary rhyme within the phrase has the same effect as the anadiplosis rhetoric device found in the ancient poetry of the Han Chinese. In addition,the lyrics of the folk songs of the Torch Festival of Chuxiong Yi vary from each other and do not have a "neat " form. This is closely related to the spontaneous creation of lyrics and singing of the local people.The appearance of a great number of added or"supplementary" words in the lyric of the folk songs of the Torch Festival of Chuxiong Yi is its most remarkable characteristic. The function of the added words in the folk songs is to supplement the primary words,and to achieve the effect of expressing further emotion,and to increase the effectiveness of the song while singing it. The added words can be mainly divided into: added words with practical significance,and added words with no practical significance. Added words with practical significance usually refer to the names of designated persons,place names,acts of conventional behavior of the Yi or well-known matters. Addedwords with no practical significance refer to auxiliary words,interjections,mimetic words and other classes of words such as: ah,hey,lalila,nige,asai,oyi, etc. In addition, added words with practical significance and added words with no practical significance can be combined together to create new added words.VI. Singing forms: solo singing,antiphonal singing,singing in unison,choral singing,singing while performance,and other forms The singing forms of the folks songs of the Torch Festival of Chuxiong Yi are rich and varied.They include: solo singing, antiphonal singing,singing in unison,choral singing and singing while performing,and other forms. The places where one sings can be indoors,in a courtyard,a square,a farm field,a stage and other places. When the fire songs of the Torch Festival are sung, generally there are many people,and the atmosphere is more solemn. The fire songs are usually sung in unison and in choral form; the ancient songs of worship ceremony are mainly solos whereas the climax is sung in chorus; the dance songs are usually sung by the old and young,both men and women,who sit around and do antiphonal,choral,and,unison singing. They sing while stamping their feet; the singing forms of the drinking songs can also be solo,antiphonal,choral and singing with performance; the singing forms of love songs are usually antiphonal and choral. In most cases,young men and women sing love songs without the attendance of old men and children. In addition,from the aria structure of the folk songs of the Torch Festival,the opening tunes/tune singing and accompanying tune/epilogue are sung in chorus by a group of people in general,and most of the primary parts/major tunes are sung in solo.With regard to the singing styles,the different types of folk songs of the Torch Festival of Chuxiong Yi have their own remarkable characteristics.The style for singing the fire songs is lively and enthusiastic; the ancient songs of worship are deep and solemn,and are usually sung by the senior bass singer; the singing style for the dance songs is more lively, and bright with enthusiasm; the drinking songs of the Torch Festival is infused with festival atmosphere-the singing style is enthusiasticand unchained. The singer is good at activating the atmosphere through his or her singing,and leads the listeners into the drinking atmosphere. The love songs of the Torch Festival express emotion,and they have a diversity of style. Some are implicit and mild, some are enthusiastic and unbound,some have a wild mountain flavor,and some are quiet and elegant. In a word,from these different singing styles of the folk songs of the Torch Festival of the Chuxiong Yi,we can find the abundant and unique charms of the resources of these folk songs.
The folk music of the Torch Festival of the Yi in Chuxiong is an important part of Yi Culture. It also reflects the depth and nature of the music culture of the Yi. This article researches the characteristics of the musical form of the folk songs of the Torch Festival by collecting and collating nearly 100 folk songs of the Torch Festival of the Chuxiong Yi. The research includes analyzing the musical structure,mode and tonality,the melody methods and melody lines, meter and rhythm,characteristics of the lyrics,the singing forms and other aspects. This article concludes that the unique characteristics of the music forms of the Torch Festival reveal the precious art and charm of the Torch Festival of the Chuxiong Yi.The folk music of the Torch Festival of the Chuxiong Yi is a colorful and beautiful page among the numerous folk customs of the Torch Festival of the Chuxiong Yi. This is because in this special field,the music reflects the life and history of the Chuxiong Yi people in the past,and transmits the happiness and vision of that day. The folk songs of the Torch Festival are not only closely connected with the content and process of Torch Festival customs,but they also fully illustrate the unadorned,enthusiastic and open character of the Yi of Chuxiong. As a "name card"for the the Torch Festival,the folk music of the Torch Festival can be compared to a budding flower of the intangible cultural heritage of our country. According to the cultural connotations of the Yi Torch Festival,and the current manifestation of the forms of the folk songs of the Torch Festival of Chuxiong Yi,these folk songs can be divided into fire songs,ancient songs of worship ceremonial songs,dance songs,customary drinking songs and love songs. The formationof the musical forms of the folk songs of the Torch Festival of Chuxiong Yi is closely linked with the social life of the Chuxiong Yi. In the long-term singing practice, the Chuxiong Yi reasonably,flexibly and creatively use melody,scale,mode,tonality,rhythm,meter,timbre,and singing and all kinds of music forms and their transitions..I. Musical Structure: Taking the "Meter Type Transformation"as the core and the Diverse Musical Structure as Supplementary In the folk songs of the Torch Festival of Chuxiong Yi,the musical structure of most of the folk songs is multi-phased. It takes shifts in meter and rhythmic pattern as the main method of change,with one theme running throughout. Even though some of the folk music have two or three short phrases,in general,the phrases will be repeated. For the folk songs with this kind of musical structure,the number of the words in each phrase is the same,and the phrase is represented by a clear and neat structure. This reflects the personality characteristics of the Chuxiong Yi—their pursuit of integrity and symmetry. This kind of musical structure,which is found in the folk songs of the Torch Festival,is nearly the same as the musical structure of folk songs of other ethnic minorities in China.As the diversity of their lives developed,the musical structure of the folk songs of the Torch Festival of the Chuxiong Yi also diversified. One of these is a folk song consisting of a one-part form.In this kind of Torch Festival folk song, two,three,four or more phrases are composed into different structures. The most common is one in which the structure is made-up of four phrases,led by the "introduction,the clarification which is thechange to another viewpoint,and the resolution"of the high and low phrases. Another kind of musical structure is the strophic form. The musical structure of this kind of folk songs can be regarded as a composition of verse and chorus. The Torch Festival folk songs having this kind of musical structure repeatedly use the same melody to sing different contents,or use a longer melody to sing a complete lyric. The change to such a musical form leads to a strong color contrast of the tune and melody,and emotional fluctuation,thus increasing the expressive force of the folk song music of the Torch Festival.II. Mode and Tonality: Taking the Chinese National Five-Tone Mode as the Core together with a Tonality Characterized by Rich Color According to the traditional analysis of mode,the mode of the folk songs of the Torch Festival complies with the general characteristic of Yi music. This is because it takes the five-tone scale,that is "Do,Re,Mi,Sol,La ",as the principal scale. This is less partial and more like the Yu Mode( a note from the ancient Chinese five-tone scale; the others are Gong,Shang,Jiao,and Zhi).In addition,there are a small number of hexatonic scales and heptachord scales. The mode under the tetrachord scale is largely absent from the folk songs of the Torch Festival. According to conclusions of the music scores of the Torch Festival folk songs,among the various kinds of musical modes of folk songs,the Yu Mode is the most common,followed by the Gong, Zhi,Shang and Jiao Modes. With regard to tonality,the tonality of the Torch Festival folk songs is unified. A song maintains the same minor cords from the beginning to the end,and there is less modulation and transitional phenomena. If we classify the Torch Festival folk songs according to tonality characteristics,they can be divided into talking and singing,mountain songs,and minor scale songs of different tonality.III. Melody Rules and Melody Lines: the Rules of Melody are Varied and Complex,and the Melody Lines are Brilliant The voice ranges of the folk songs of the Torch Festival are wide. Most of them are within 10 degrees,and a small part of them can reach over 12 degrees. When the melody is ascending,it sometimes adopts a forward and circuitous method to show a gentle wavering state; it sometimes adopts a fierce rising method to show a concentrated wavering state. When the melody is descending,sometimes it is rapid,and sometimes slow,or sometimes it descends like a ladder or waves. The melody of the folk songs of the Torch Festival prefers to plunge. The most common are 2,3,4 and Perfect Fourth and Perfect Fifth plunging. The melody lines of the folk songs of the Torch Festival of the Yi go up and down. They are varied and colorful and make large use of lining tunes,prolongation tunes,tunes that slide down,ornamental tunes and neutral tones and other musical elements.IV. Meter and Rhythm: Form the Characteristic of Diversity and Complexity As for meter used in the folk songs of the Torch Festival,the meter types include all kinds of ones frequently-used: single meter,compound meter,irregular meter,a changing meter,scattered meter,etc. We extracted 86 frequently-sung songs from the folk songs of the Torch Festival of Chuxiong Yi and analyzed them using SPSS software.We found that the folk songs composed by 2/4 meter were the maximum number,followed by 3/4 meter,and then,irregular change meter of 2/4 meter and 3/4 meter,and then 3/8 meter and even the irregular change meter of 3/8 meter and 6/8 meter. The use of these irregular change meters interrupts the upright and neat property of the music,as well as the balance between the single meter and compound meter. It creates a specific freshness and dynamic property in the rhythm of music,which are good for the development of the folk music and melody of the Torch Festival. This meter which integrates both diversity and complexity is the special highlight for the folk songs of the Torch Festival of Chuxiong Yi.V. Characteristics of the Lyrics: Integrating both Long and Short Forms,and Neat and Dispersed and Differing Forms The lyrics of the folk songs of the Torch Festival are rich,and the primary lyrics and supplementary lyrics have their own characteristics. For the primary lyric,the first thing is the length. The lyrics of the folk songs of the Torch Festival ofChuxiong Yi differ in length. There are three words and two phrases,five words and four phrases and other uneven long and short lyrics. The second thing is the "aria"structure. The aria structure of the lyric mainly includes three forms: the first form is the "opening tune/tune singing + main part/singing the authentic tune + accompanying tune/epilogue". The second form is the "main part/singing the authentic tune + accompanying tune/epilogue". The third form is the"alternation of the conduction of the accompanying function lyric and presiding notional lyric". The last is the characteristic of the rhymes of the lyrics.The lyrics of the folk songs of the Torch Festival of the Chuxiong Yi are very particular about rhyme. The main four rhyme forms are rhymes at the beginning of the phrase,rhymes at the end of the phrase,rhymes within the phrase and rhymes at the top within the phrase. The rhymes at the top or head of the phrase include the ABAB Form,AABB Form. The rhymes found at the end of the phrase includes the AABB,and AABA form. The rhyme within the phrase usually includes one form:the middle word( internal rhyme) of the first lyric rhymes with the middle word internal rhyme of the second lyric; the primary rhyme within the phrase has the same effect as the anadiplosis rhetoric device found in the ancient poetry of the Han Chinese. In addition,the lyrics of the folk songs of the Torch Festival of Chuxiong Yi vary from each other and do not have a "neat " form. This is closely related to the spontaneous creation of lyrics and singing of the local people.The appearance of a great number of added or"supplementary" words in the lyric of the folk songs of the Torch Festival of Chuxiong Yi is its most remarkable characteristic. The function of the added words in the folk songs is to supplement the primary words,and to achieve the effect of expressing further emotion,and to increase the effectiveness of the song while singing it. The added words can be mainly divided into: added words with practical significance,and added words with no practical significance. Added words with practical significance usually refer to the names of designated persons,place names,acts of conventional behavior of the Yi or well-known matters. Addedwords with no practical significance refer to auxiliary words,interjections,mimetic words and other classes of words such as: ah,hey,lalila,nige,asai,oyi, etc. In addition, added words with practical significance and added words with no practical significance can be combined together to create new added words.VI. Singing forms: solo singing,antiphonal singing,singing in unison,choral singing,singing while performance,and other forms The singing forms of the folks songs of the Torch Festival of Chuxiong Yi are rich and varied.They include: solo singing, antiphonal singing,singing in unison,choral singing and singing while performing,and other forms. The places where one sings can be indoors,in a courtyard,a square,a farm field,a stage and other places. When the fire songs of the Torch Festival are sung, generally there are many people,and the atmosphere is more solemn. The fire songs are usually sung in unison and in choral form; the ancient songs of worship ceremony are mainly solos whereas the climax is sung in chorus; the dance songs are usually sung by the old and young,both men and women,who sit around and do antiphonal,choral,and,unison singing. They sing while stamping their feet; the singing forms of the drinking songs can also be solo,antiphonal,choral and singing with performance; the singing forms of love songs are usually antiphonal and choral. In most cases,young men and women sing love songs without the attendance of old men and children. In addition,from the aria structure of the folk songs of the Torch Festival,the opening tunes/tune singing and accompanying tune/epilogue are sung in chorus by a group of people in general,and most of the primary parts/major tunes are sung in solo.With regard to the singing styles,the different types of folk songs of the Torch Festival of Chuxiong Yi have their own remarkable characteristics.The style for singing the fire songs is lively and enthusiastic; the ancient songs of worship are deep and solemn,and are usually sung by the senior bass singer; the singing style for the dance songs is more lively, and bright with enthusiasm; the drinking songs of the Torch Festival is infused with festival atmosphere-the singing style is enthusiasticand unchained. The singer is good at activating the atmosphere through his or her singing,and leads the listeners into the drinking atmosphere. The love songs of the Torch Festival express emotion,and they have a diversity of style. Some are implicit and mild, some are enthusiastic and unbound,some have a wild mountain flavor,and some are quiet and elegant. In a word,from these different singing styles of the folk songs of the Torch Festival of the Chuxiong Yi,we can find the abundant and unique charms of the resources of these folk songs.
引文
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