负阴而抱阳的两仪五度相生阳变九音阶--西北民歌新论之二

Formation of the Scales in Chinese Northw estern Folk Songs: A New Concept( Part Ⅱ)

本文通过对陕北和陇东的《绣荷包》音调家族群及西北地区典型说唱、戏曲唱腔音阶构成的比较分析,继续讨论西北音体系中最广泛应用的两仪五度相生阳变九音阶的主要特性,提出西北音体系的花音和苦音是沿着这个音阶从五声向七声呈阶段性发展的两种模式,花音为阳仪二次生音和三次生音,苦音为阴仪二次生音和三次生音。所分析的样品不支持"苦音是中立音"假说,却揭示了阳仪四次生音和五次生音与苦音并置应用的音级分化现象。

Based upon a comparative analysis of the samples selected from Xiu hebao folk tune family popular in northwestern China as well as other local singing story-telling and musical theaters,this continued paper in series further discusses the essential features of the Masculine Nine-tone Scale of the northeastern Chinese tone-system produced by the Two-winged Circle-of-fifths. It suggests that huayin( happy tones) and kuyin( bitter tones) represent two modes developed in sequence along this scale. Huayin refers to the second product mi and third product si in yangyi( the masculine wing),while kuyin,the counterparts do and fa in yinyi( the feminine wing). No analyzed samples support the hypothesis about kuyin the only neutral tones between their minor-third neighboring degrees. Instead,the analysis reveals that the fourth product fa-sharp and the fifth product do-sharp of yangyi are often used in parallel with kuyin as two separated half-tone degrees to fill these minor thirds.