“腔调”的规式性与可变性——以戏曲、民歌、器乐、词调音乐为例

Standardization and Flexibility of "Tones"——Xiqu Opera,Folk Songs,Instrumental Music and Cidiao Music as Examples

在中国传统音乐结构层次中,腔调指的是表达完整乐思的音乐结构单位。本文以戏曲音乐、民歌、民族器乐曲和词调音乐为形式的曲目为例,探索腔调的规式性和可变性,认为规式性是各腔调相对稳定的基础,是这一腔调区别于另一腔调的标识,它包括腔调的结构规式(段式、腔句、句幅、句式、板数等)、旋律(腔音列、调式框架、基点音、腔韵、旋律线状等)、节奏(板式、节奏型)、伴奏乐器与伴奏手法等。可变性是各腔调为了适应音乐内容、感情表现的需要而作的改动,是腔调发展的动力。"移步不换形","守成法,不泥于成法;脱离成法,又不背于成法"就是腔调这一结构层次的规式性与可变性的规律。

In the system of traditional Chinese music, tones refer to the musical structure unit expressing complete music ideas. With Xiqu music, folk songs, folk instrumental music and Cidiao music as examples, the present article explores the standardization and flexibility of tones, and regards standardization as the basis of the comparative stability among various tones and as the mark differentiating one tone from another. Standardization includes the structure pattern （stanza pattern, tone sentence, sentence length, sentence pattern, beat number, etc. ）, melody （note sequence, tone frame, basic note, tone rhyme, melody line, etc. ） , rhythm （beat pattern, rhythm style） , accompany instrument and approach, etc. Flexibility is the adaptation of various tones for music content and emotion expression ; it is the impetus for the tone development. Application of the dialectical relationship between outer form and inner nature, between keeping rules and dismissing rules is the law in the standardization and flexibility of tones.