论《格萨尔》说唱曲调的程式化传承

On the Inherence of the Stylizing of Talking and Telling in Gesar(格萨尔) and on the Characteristics of the Art's Melody

《格萨尔》文学唱词和音乐的调式、节奏规律都是吸收和借鉴具有浓厚地域特色的西藏农业区和牧区的广为流传的山歌、牧歌和强盗歌的内容和形式而成的。在说唱的唱腔中,民歌中的三段二句这种程式,正好反映了《格萨尔》曲调的ABC变奏曲式结构,与民歌曲式高度一致,同时,主段重复或变化重复首段,为歌手即兴创作演唱提供了现成的结构模式,艺人或歌手只要根据这程式,填充具体词句就可以完成其创作表演了。

The libretto of literature and the melody and rhythm of music in the epic 格萨尔 were shaped by absorbing and using for reference the contents and patterns of the madrigal, folk songs and bandit songs, all of which were prevailed in the agricultural areas and pasture in Tibet and therefore were prominently featured by regional characteristics. The style of three paragraphs each with two sentences in folk songs in singing have been evidenced just as the music forms of ABC variations in the epics. In addition, the repetition of the main paragraph or the changing repetition of the first paragraph, furnishes the singers with the existed structural model for their extemporaneous performance, just by which can the artists or singers place the words and sentences needed for their impromptu and then finish their presence.