青山唢呐民间乐语“趔调”释义  

Interpretation of Terminology“Liediao”in Qingshan Suona Folk Music

作　　者：刘亦群 LIU Yiqun

机构地区：[1]深圳职业技术大学职业教育学院

出　　处：《中央音乐学院学报》2024年第3期152-164,共13页Journal of The Central Conservatory of Music

摘　　要：中国传统音乐中的民间乐语是音乐持有者言说音乐的自我表述符号,它具有强烈的地域文化属性。借用西方音乐理论去分析和阐释,往往难以贴切地解读民间乐语的真正内涵。“趔调”是湖南传统乐种“青山唢呐”中的常用乐语,它与西方作曲理论的“模进”以及辽宁鼓乐的“五调朝元”既有一定相似性,同时又具有自身鲜明的特点。论文运用中国传统乐学理论阐释“趔调”的音乐形态特点,将其置于所处的文化语境中分析其背后的文化内涵,并探讨由此映射出的当地民间艺人的音乐创作思维及审美取向,旨在为乐种学的理论建设起到推动作用。The folk music term in traditional Chinese music is a selfexpressive symbol for music practitioners,and it has strong regional cultural attributes.It is often difficult to accurately capture its true essence by borrowing Western music theory for analysis and interpretation.“Liediao”is a common term in the traditional Hunan music genre“Qingshan Suona.”While possessing distinct characteristics of its own,it shares some similarities with the Western compositional concept of“sequence”and the Liaoning windanddrum music of“Wu Diao Chao Yuan.”The paper applies traditional Chinese music theory to explain the musical form of“Liediao,”analyzes its cultural connotations within the cultural context,and explores the creative thinking and aesthetic preferences of local folk artists reflected in it,aiming to promote the theoretical construction of music genre studies.

关 键 词：青山唢呐 民间乐语 趔调 文化语境 创作思维 

分 类 号：J607[艺术—音乐]