蒙古族长调民歌马尾胡琴伴奏艺术的调性自洽与类型特征  

Self-consistent Tonality and Type Characteristics of Mawei-Huqin(Horsetail-shaped Huqin Fiddle) as the Music Accompaniment of Mongolian Long-tune Folk Song

作　　者：张劲盛 佟占文[2] ZHANG Jinsheng;TONG Zhanwen(Art Research Institute of Inner Mongolia Autonomous Region,Hohhot,Inner Mongolia,010020,China;College of Music,Inner Mongolia Normal University,Hohhot,Inner Mongolia,010028,China)

机构地区：[1]内蒙古自治区艺术研究院,内蒙古呼和浩特010020 [2]内蒙古师范大学音乐学院,内蒙古呼和浩特010022

出　　处：《贵州大学学报（艺术版）》2023年第3期99-106,共8页Journal of Guizhou University Art Edition

基　　金：国家社科基金艺术学西部项目“20世纪中蒙俄马头琴音乐文化跨界比较研究”(项目编号:17ED235);内蒙古自治区哲学与社会科学2021年规划项目“内蒙古黄河‘几’字弯非物质文化遗产系统性保护、传承研究”(项目编号:2021NDB075)。

摘　　要：蒙古族长调民歌马尾胡琴伴奏艺术是蒙古族传统音乐中最具代表性的文化现象。马尾胡琴在为长调伴奏中,在自身乐器法和演奏法的基础上,结合长调民歌的音域、调式、音列以及歌者的嗓音条件、演唱场域和仪式氛围等,逐渐形成了调性自洽,最终确定了马尾胡琴类乐器的演奏技法特证和长调的调性特证。对分布于蒙古高原各地的蒙古族长调马尾胡琴伴奏艺术的多种类型的梳理和对其调式自洽的解析,可以一窥蒙古族传统音乐多元文化系统的内在机理和文化内涵。As the accompaniment art of Mongolian long-tune folk song,Mawei-Huqin(horsetail-shaped Huqin fiddle)is the most representative cultural trait in traditional Mongolian music.In accompaniment to the long tune,Mawei-Huqin,based on its own instrument and performance techniques in combination with the range,mode,sound sequence,as well as the singer’s vocal qualities,performance venue,and ritual context of the long-tune folk songs,has gradually formed its self-consistent tonality,and ultimately determined its performance techniques and tonal characteristics.By sorting out various types of Mawei-Huqin accompaniment art of Mongolian long tune that are distributed in various parts of the Mongolian Plateau and analyzing its modes of self-consistence,this paper shed a certain light into the internal mechanism and cultural connotations of the multicultural system of the traditional Mongolian music.

关 键 词：蒙古族长调 马头琴 调性自洽 伴奏艺术 技法特征 

分 类 号：J632[艺术—音乐]