中国传统音乐结构思维在当代流行音乐创作中的运用  

The Application of Traditional Chinese Music Structure in Popular Music

作　　者：施咏 Shi Yong

机构地区：[1]南京师范大学音乐学院,南京210097

出　　处：《音乐文化研究》2024年第3期99-119,M0004,共22页Music Culture Studies

基　　金：2023年度国家社科基金后期资助重点项目“百年中国流行音乐民族化的历史与文化特征研究”(项目编号:23FYSA002)的阶段性成果。

摘　　要：文章选取百年来中国当代流行音乐中采用五声音阶式进行、加花、减花、鱼咬尾、连环扣、加垛等旋法,过阕、合尾、一曲多用等曲体结构创作的具有中国民族特色的作品个案进行音乐分析,以之探讨符合民族审美心理的中国传统音乐结构思维在当代流行音乐创作中的存续与发展,探求中国传统音乐结构思维在当代流行音乐中的表达之道,构建具有中国特色、中国话语的当代流行音乐创作的方法体系。This study selects representative works from the past century of Chinese popular music that employs pentatonic scales,traditional melodic developing methods such as jiahua(adding flower),jianhua,(delete flower)yuyaowei(connected head to tail),lianhuankou(interlocked rings),jiaduo(adding beats),as well as traditional music structures such as guoque,hewei(ending on the same phrase),and one song for multiple purposes.Through musical analysis,this article explores the existence and development of traditional Chinese music structural thinking in contemporary popular music creation,which aligns with Chinese national aesthetics.It seeks to discover how traditional Chinese music forms and structures can be utilised in popular music and to establish a methodological system for composing contemporary popular music with Chinese characteristics and discourse.

关 键 词：中国传统音乐结构 中国流行音乐 旋法 鱼咬尾 连环扣 合尾 腔音列 

分 类 号：J642.1[艺术—音乐]