人声化的音响趣味与美感效应——中国传统音乐音色的审美取向  

Vocal Acoustic Taste and Aesthetic Effect: Aesthetic Orientation of the Musical Quality of Chinese Traditional Music

作　　者：刘承华[1] Liu Chenghua(Nanjing University of the Arts,Nanjing,Jiangsu,210013)

机构地区：[1]南京艺术学院,江苏南京210013

出　　处：《民族艺术研究》2023年第1期100-109,共10页Ethnic Art Studies

摘　　要：中国传统音乐对音色有着特别的追求,就是“近人声”。中国自古就有“贵人声”的传统,并支配着乐器制作上的音色取向。首先,从四大类乐器本身的特点看,除敲击乐器外,其他三类(拉弦、吹管和弹拨)都以不同方式、在不同程度上表现出向“人声”的接近;其次,从整个乐器史的演进过程看,它也经历了从尚未注意人声的先秦,经由汉唐到两宋,再到胡琴家族占主体地位的明清,表现了在音色上不断向“人声”接近的趋势和轨迹。“人声化”的音色在听觉上可以产生“质感”效果,使音乐音响获得某种直接性、及物性和穿透力,增强了音乐的表现力和感染力。Chinese traditional music has a special pursuit of Musical Quality, that is, “close to human voice”. It is a tradition in ancient China to “value human voice”, which dominates the Musical Quality orientation in the making of musical instruments. Firstly, in regard to the characteristics of the four major types of musical instruments, except for percussion, the other three types(pulling string, blowing pipe and plucking) show different approaches to simulate “human voice” in different ways and to different degrees. Secondly, the development of Musical Quality experienced the trend of closing to “human voice” during the whole history of musical instruments: from the Qin period when few attention was paid to human voice, to the Han, the Tang and the Song dynasties, and then to the Ming and Qing dynasties, in which Huqin played a dominant role. The vocal Musical Quality can produce “texture” in the sense of hearing, which endows the music with directness, transitivity and penetration, thus enhancing the appeal of the music.

关 键 词：中国传统音乐 音色 审美取向 人声化 器声 

分 类 号：J605[艺术—音乐]