南方少数民族民间音乐的音声结构与黏性发展形态——以三种典型案例为中心  

The Sound Structure and Adhesive Development Form of the Folk Music of the Southern Minorities:Centred on the Three Typical Cases

作　　者：廖婧[1] LIAO Jing(School of Ethndogy and Sociology,South-central University for Nationalities,Wuhan,Hubei 430074,Chin)

机构地区：[1]中南民族大学民族学与社会学学院,湖北武汉430074

出　　处：《贵州民族研究》2018年第6期67-77,共11页Guizhou Ethnic Studies

摘　　要：以纳西古乐、布依族笔管歌乐和侗族大歌为案例,对南方少数民族三种典型类型的民间音乐的音声结构进行分析,认为南方各个少数民族民间音乐的结构虽不尽相同,但具有明显的共性结构:以腔段为核心的套曲形式,以五声音阶为调式基础,游移性的中立音,以及细腻渐变的旋法。这些要素相互关联、相互制约,共同作用于音乐结构内部,造就出细腻质朴的音乐风格。This article takes the Naxi ancient music, Buyi ＂ Tube Singing Music＂ and Dong chorus for examples,analyses sound structure of three typical types of southern minority folk music, and believes that the structure of all ethnic folk music in the south is not the same, but there a common structure among them, that is： the chamber is the core of the song form, five tone scale is the key mode, a wandering neutral tone, and the subtle and gradual melodic development.These elements are interrelated and constraining each other, and they work together within the structure of the music,creating a delicate and modesty musical style.

关 键 词：纳西古乐 笔管歌乐 侗族大歌 结构 黏性发展 

分 类 号：J607[艺术—音乐]