长沙话传统吟诵中字调与音程的关系

A Study on the Relationship Between Tones of Changsha Dialect and Their Corresponding Intervals in Traditional Yinsong (Chanting) Melody

本文以长沙话传统吟诵调为研究对象,分析方言字调与其在吟诵旋律中与音程之间的对应关系,旨在说明长沙话传统吟诵调如何体现"依字行腔""平低仄高"的特点,以及吟诵调中语言与音乐之间矛盾与平衡的关系。

Yingsong(Chanting) is a traditional art inherited from ancient scholars. It’s a unique skill, which requires people to recite, appreciate and create poetry by following certain rules. This article analyzes 24 yinsong audio files recorded from three consultants from Changsha, and tries to prove the rules of "yizixingqiang" to(chant depending on the tones of dialect) and "pingdizegao" to(chant in lower pitch on ping tones and higher pitch on ze tones) in traditional yinsong. These two rules are closely related to the tones of dialect and the melody of yinsong. Therefore, in order to analyze the tone-interval relationship, two problems are to be solved:(1) Do the pitch contours of music intervals identify with those of the tones of dialect?(2) How do these characters distribute in the high/low range of the musical scale? Here is the process of the analysis: Step 1: Notate music on these 24 yinsong pieces as follow:■Step 2: Cut the text with melody into segments, list the tone and the corresponding interval of each character, and then categorize these pairs by relevance of pitch curves. If the pitch contours of the tone and interval are alike, i.e. flat—flat, rising—rising, falling—falling, then the pair belongs to type A. If the pitch contours are partially consistent, but the interval still represents the dominant feature of the tone, it will be classified into type B. The rest will be grouped into type C. Step 3: Observe how these characters distribute in musical scales. Count the number of the characters with their tones in the low range, and the ones in the high range. After analyzing nearly 1,000 tone-interval pairs, we find that type A and type B take the majority of the total, which means, in a large extent, the melody of yinsong reflects the tones of dialect. Musical elements such as mordent, portamento, and appoggiatura are essential to enforce the similarity of dialect tones and their corresponding music segments. We also notice that the characters are distributed in the musical scale regularly by tones of ping and ze. Characters with ping tones are mainly in the low range, and the ones with ze tones are mainly in the high range. Besides, the rules yizixingqiang and pingdizegao do not apply to all the characters, due to the melodic properties of yinsong itself.