吴语“连读变调”对苏州弹词字腔关系的影响  

The Influence of Wu Dialect’s“Tone Sandhi”on the Tone Relationship of Suzhou Tanci

作　　者：杨晨[1] YANG Chen(School of Arts,Huzhou University,Huzhou 313000,China)

机构地区：[1]湖州师范学院艺术学院,浙江湖州313000

出　　处：《湖州师范学院学报》2020年第9期94-100,共7页Journal of Huzhou University

基　　金：浙江省教育厅科研项目“苏州弹词之腔词关系研究”(Y201941443)的研究成果。

摘　　要：“连读变调”作为吴语体系中最为常见的一种语言现象,对苏州弹词唱腔旋律产生了重要影响,这也集中体现了苏州弹词“依字行腔”对创腔产生的制约作用。从语言学规律与具体音乐形态相结合的视角,对苏州弹词流派唱腔中的字腔关系进行剖析,概括提炼“连读变调”对苏州弹词唱腔的旋律音高、旋律进行方向以及旋律音长三方面的影响。具体体现为:居于两字组连调单位后字的平声字、上声字、去声字和入声字的旋律音高大都低于前字(入声字作为前字除外),且常伴随下行的旋律进行;居于两字组连调单位前字的阴去字的旋律进行为平行或下行;居于两字组连调单位前字的阳去字相比后字具有更高的旋律音高,且旋律进行为上行。三字组第二字的舒声字常具有较为平稳的旋律进行,旋律音位于中高音区;三字组第二字的入声字常发生腔变,并伴有下行的旋律进行。As one of the most common linguistic phenomena in Wu dialect system,“tone sandhi”has exerted an important influence on the melody of Suzhou Tanci,which also reflects the restrictive effect of Suzhou Tanci’s“ci acting according to characters”on the creation of tune.From the perspective of the combination of linguistic rules and specific musical forms,this paper analyzes the relationship between the character cavity of suzhou Tanci schools,and it summarizes and refines the influence of“tone sandhi”on the melody pitch,direction and length of suzhou Tanci.Specifically,the melody pitch of the characters after the two character group is generally lower than that of the preceding characters(except that the former characters are the former characters),and it is often accompanied by the downward melody.The melody of Yin to the word before the two character combination is parallel or downward;Compared with the latter characters,the former characters in the two character group have a higher melodic pitch,and the melody is ascending.The shusheng of the second word in the three character group usually has a relatively stable melody,and the melody tone is located in the middle and high pitch area.The word of the second word of the three character group often has cavity change,accompanied by downward melody.

关 键 词：苏州弹词 连读变调 依字行腔 字腔关系 

分 类 号：J617[艺术—音乐]