民族音乐学视域下苗族诗班合唱音准探究的田野调查与研究

Field investigation and research on intonation of Miao choir from the perspective of ethnomusicology

云南基督教的唱诗班,由当地教会里的苗族信众组成,一般是信众中歌唱能力较好的一群人,他们主要是负责教会礼拜日的唱诗及带领其他信众敬拜。唱诗班的唱诗,可以说是整个基督教仪式中重要的组成部分。其演唱的形式,主要为多声部合唱。合唱既有独立的横向旋律运动,又要构成纵向的整体和声效果。要做到整体的和谐,音准是其核心关键,各个声部间除了唱准自己的音高,还要与其他声部融合,构成和谐的音程关系。云南当地的信众在经过认真的学习和不断的实践,很快熟悉并掌握了这种外来的、陌生的多声部歌唱形式。基督教音乐属欧洲十二平均律系列,与云南当地苗族传统民歌的五声音阶截然不同,但这并不影响信众们对音准的把握。笔者通过对云南省昭通地区滇东北次方言苗族教会唱诗班的实地调查和深入访谈,从心理、文化、习俗及语言等方面,探究唱诗班合唱音准的原因,以弥补这一领域研究的不足。

The choir is composed of the believers of the church,generally a group of people with good singing ability among the believers,mainly responsible for the worship,singing and leading worship of the church on Sunday,which is an important part of the whole Christian ceremony,and its singing form is mainly multi-voice chorus.Chorus not only has an independent horizontal melody movement,but also forms a vertical overall harmony effect.To achieve overall harmony,intonation is the key to its core,each voice in addition to singing their own pitch,but also with the integration of other voices,forming a harmonious interval relationship.The local religious people quickly became familiar with and mastered this foreign and unfamiliar form of multi-voice singing.Christian music is a European twelve-tone temperament,which is quite different from the traditional national pentatonic scale of the local Miao people,but it does not affect the religious people to grasp the intonation.Based on the field survey and interview of the Miao church in the northeast dialect of Yunnan in Zhaotong City,this paper explores the reasons for the intonation of the choir from the aspects of psychological factors,cultural customs and language.