旋律中的各种逻辑关系

On the logic relations in melody

音乐不能表达概念,但旋律中存在各种逻辑关系。在西方,旋律的发展,不管是完全的还是局部的模仿或变奏,都必须保持与原主题在外部形态上的联系,如原地重复、在不同高度进行模仿、倒影、逆行、逆行倒影、分裂、放大或缩小和华丽的装饰等,都要坚持原主题的节奏和波形走向。我国传统音乐分析中常用一些形象化词语来理解旋律的上下文之间联想式展开的逻辑关系,如合头、合尾、鱼咬尾、过板掏、隔山应、倒扌卷、廉顶嘴、学舌,或双叠翠以及涡云等。尽管这些术语其内涵及外延还没有经过严格界定,但在指导人们的音乐创作时完全可以加以运用。笔者主张兼容并蓄:用两条腿走路,用两只手干活。将中西两方面的“一”相加起来,就可以产生“一加一大于一”的效果。

There exists various logic relations in melody though it is generally believed that music does not convey specific concepts. Melodic development in western music depends heavily on the connections with the original motif or theme, and this is realized, wholly or in part, via such composing techniques as repetition, sequence, mirror, retrograde, breaking or division, augmentation and dinfinution, as well as ornaments in order to maintain the rhythmic pattern and meledic, contour from the original. Likewise, such logic rehtiens or associative development in melody of traditional Chinese music, with context under consideration, might be understcod by means of verbal descriptions though the connotations of the verbal descriptions have not yet been systematically identified. The author proposes to integrate western and native techniques for the development of melody so as to facilitate music composing.