“声各有形”的历史形成与理论内涵  

The Historical Formation and Theoretical Connotation of"Each Sound Has its Shape"

作　　者：潘明栋[1] Pan Mingdong

机构地区：[1]贵州师范大学音乐学院,贵州贵阳550001

出　　处：《南京艺术学院学报（音乐与表演版）》2021年第4期109-112,I0003,共5页Journal of Nanjing Arts Institute:Music & Performance

基　　金：贵州省教育厅研究生基地项目“传统的演现代的唱-民族歌剧《党的女儿》表演艺术研究”(编号:0520117);贵州师范大学博士科研启动经费项目“(博)《乐府传声》声腔表演美学思想研究”(编号:0518041)阶段性成果。

摘　　要：“声各有形”是清代唱论《乐府传声》中的经典命题之一。其核心观点认为歌唱的声音是有形状的,想要得到某种形状的声音,只需要改变发声的形状即可。“声各有形”命题的提出经历了一个长期历时性发展过程,并形成其独有的理论内涵。本文考察了《乐记》中“贯珠”一词,以及清代以前传统唱论中关于“珠”的使用情况等,认为命题中的“形”是受“贯珠”说的影响。其声音之形的理论基础是传统音韵学中“四呼、五音、归韵、交代”等读字成果。命题的实践价值在于提出了“欲改其声,先改其形”的唱字原则与方法。通过比对现当代歌唱学实践发现,这个命题有很强的科学性,使得《乐府传声》中的唱论思想具有了从传统到现代的理论发展意义。"Each sound has its shape"is one of the classic propositions in the singing theory Yue Fu Chuan Sheng in Qing Dynasty.The core point of view is that the sound of singing has a shape.To get a certain shape of sound,you only need to change the shape producing the sound.The proposition of"each sound has its shape"has experienced a long-term diachronic development process and formed its unique theoretical connotation.This article examines the word"guanzhu"in the Yue Ji and the usage of"zhu"in traditional singing theory before the Qing Dynasty.It is believed that the"shape"in the proposition is influenced by the theory of"guanzhu".The theoretical basis of the shape of the sound is the achievement of reading the words in the traditional phonology of"sihu,wuyin,guiyun,and jiaodai".The practical value of the proposition is to put forward the principle and method of singing"if you want to change the sound,first change the shape".By comparing the practice of modern and contemporary singing,it is found that this proposition is very scientific,which makes the singing theory in Yue Fu Chuan Sheng have the significance of theoretical development from tradition to modern.

关 键 词：《乐府传声》 声各有形 传统唱论 

分 类 号：J604[艺术—音乐] J614