黔东南侗族琵琶歌核腔及其文化阐释  

The Core Tune about the Dong Pipa Song and Its Cultural Interpretation in Qiandongnan

作　　者：何家国[1] HE Jia-guo(School of Music, Kaili University, Kaili, Guizhou,556011, China)

机构地区：[1]凯里学院音乐学院,贵州凯里556011

出　　处：《原生态民族文化学刊》2017年第2期118-124,共7页Journal of Ethnic Culture

基　　金：贵州省教育厅高校人文社科研究基地项目"南侗民间琵琶歌文化考察研究"(项目编号:JD2014264);贵州省省级重点学科人类学专项课题"音乐人类学视野下侗族民间乐人研究"(项目编号:RLX008);2014年度凯里学院校级重点学科"音乐与舞蹈学"(项目编号:KZD2014010)

摘　　要：作为民间歌曲的基础结构,核腔对于分析、研究民歌乃至民间音乐具有重要意义及价值。黔东南侗族琵琶歌核腔由角商宫羽(Mi Re Do La)四音列构成,并在核腔原形及其不断变形中建构、完成旋律。作为侗族社会自然、人文环境的产物,琵琶歌核腔与侗族社会款组织、民间歌师的即兴创作及其伴奏乐器——琵琶有着千丝万缕的联系,相互依存于侗族社会文化体系之中。As the basic structure of folk songs, the core tune have an important meaning and value for the analysis and study about folk songs and folk music. The core tune about the Dong Pipa Song in Qiandongnan is composed of four sound ——Mi Re Do La, and the prototype of the core tune and its continuous deformation construct, complete the melody. As the product of the environment of the nature and the humanity in the Dong, the core tune of the Pipa Song and the Kuan organization in the Dong nationality, the creation of the folk singers, and the accompaniment of musical instruments ——Pipa are linked inextricably, and mutual survival in the Dong social culture system.

关 键 词：核腔 侗族琵琶歌 侗族音乐 

分 类 号：J607[艺术—音乐]