西北民歌音阶的形成--西北民歌新论之一

Formation of the Scales in Chinese Northw estern Folk Songs:A New Concept

中国西北民歌音列和音阶用古代三阶理论无法透彻解释。本文以民歌样品的简化和繁化分析为据,实证两仪五度相生的口腔谐音律是西北民歌的腔、调之本,其一次相生的三声双四度框架是西北民歌的深层结构,沿相生第次所产生的四声至九声音阶是西北民歌的常态。伴随着音乐形态分析,本文对腔音列的数码描述、游移音的定量等关键技术也提出了新方法。

The tone-rows and scales in Chinese northwestern folk songs are not able to be thoroughly explained with the authentictheory of ancient yayue, qingyue, and yanyue. Based on the sample analysis conjoined with reduc- tion or ornamentation, this paper expounds and proves that the two-winged circle-of-fifth produced by vocal overtone- temperament is the origin of the tune and tonality of Chinese northwestern folk songs, the three-tone framework [ 0, 5, 7, 121 is their fundamental work, and the four-tone to nine-tone scales produced along the chain of two-winged circle-of-fifth are their normal modals. During analyzing, this paper further suggests some new approaches to the tech- niques of describing tone-rows and quantitation of drifting tones in Chinese music.