中華文明的藝術奇葩
——民歌（中）

文/五花肉

中華文明的藝術奇葩
——民歌（中）

The Wonder of Chinese Civilization—Folk Songs (Part 2)

文/五花肉

“五十六個民族，五十六枝花”，獨具的民族特色，逐步形成了我國北方草原、西部新疆、西部藏族、西南高原、東北平原、西北高原、中原及東部沿海七大風格迥異的民歌分布區域。雖然歌種繁多、體裁各異，歷經華夏民族文化融合的民歌，在凸顯特色的基礎上，也繼承和發展了民族音樂的共性“標準”。

Fifty-six diverse ethnic groups just like fifty-six beautiful flowers,the well-known lyric expresses the distinctive ethnical feature in China. Over the passage of time, Chinese folk songs have developed seven different geographical distributions including northern prairie, western Xinjiang, western Tibetan, southwest plateau, northeast plain, northwest plateau, central plains and eastern coast. Although Chinese folk songs have a wide range of various genres and styles, they experience the integration of Chinese national cultures, inherit and develop the common standard of folk music based on highlighting the features.

標準的音階調式 Standard Musical Scale

作為中華音樂體系的重要組成部分，我國民歌的音階呈現出五聲音階與七聲音階結合的“標準調式”。七聲音階是在原有的五聲音階宮、商、角、徵、羽五音加上變徵和變宮兩音而成。

As an important component of Chinese national music system, Chinese folk songs present a standard musical scale, which is a combination of pentatonic scale and heptatonic scale. Heptatonic scale developed from the pentatonic scale (Gong, Shang, Jiao, Zhi, Yu) by adding the variant of Zhi and Gong.

北方黃河流域民歌多以七聲音階、六聲音階為主；南方長江流域民歌則以五聲音階為主，同時還有各種三聲、四聲結構。在分布趨勢上，七聲音階由北往南經過江淮民歌區，逐漸向五聲音階過渡。

The folk songs of Yellow River Basin in northern China are mainly with hexatonic scale and heptatonic scale; the folk songs of Yangtze River Basin in southern China are mainly with pentatonic scale, some are with tritonic scale and tetratonic scale. In terms of the distribution trend, through Yangtze-Huaihe River from north to south, the musical scale gradually transits from heptatonic scale to pentatonic scale.

規范的曲式結構 Standard Musical Structure

我國民歌的曲式結構講究前后對稱、首尾呼應、層層遞進，體現了平衡和諧的審美標準。民歌節拍以復數居多，節奏以均勻型為主，常見的變化主要是切分型，如漢族民歌在形式結構上，大多以五字句、七字句為其基礎句式，以二句體、四句體為其典型結構。二句體以對應或變化重復為其發展手法；四句體多以起承轉合為其發展手法。

The musical structure of Chinese folk songs emphasize the parallelism of front and back, the coherence of beginning and end, and a progressive structure, which represents the balanced and harmonious aesthetics of Chinese nation. Most of folk songs feature plural beat and even rhythm. The common rhythm variation is segmentation, for example, the basic sentence pattern of Han folk songs is five-syllable form and sevensyllable; the typical structure consists of two-sentence form or four-sentence form. Speaking of applying technique of development, two-sentence form is about parallelism and repetitive change; four-sentenceform is about opening, developing, changing and concluding.

特色的音樂形態 Unique Musical Form

我國民歌的各種音樂形態與其社會功能、傳唱方式有著直接關聯。如勞動號子的社會功能是以實用性為主，其形態標準以“領”、“合”為基本形式，歌詞多以第一、第二人稱對應出現，多為觸景生情即興編詞。山歌、牧歌的音樂形態標準則以表現性為主，由于其經常出現在山野或草原之中傳唱，形成其高亢、悠長的曲調，靈活松散的節奏，腔長字少的音樂形態。

The various music forms of Chinese folk songs directly associated with social function and transmission mode. For example, the main social function of Haozi is practicability, its basic form is lead and chorus; most of its lyrics are in first person and second person correspondingly, improvised when the scene brought back the singer's memories. The main standard of music form of mountain songs and idylls are performance. During the frequent transmission in the mountains and prairies, mountain songs and idylls have evolved into vigorous and lingering melody, flexible and loose rhythm, long tune and less syllable music form.

結 語 Conclusion

我國民歌是勞動人民生活的真實寫照，具有極高的藝術價值。雖然看似即興而作，在調式、結構、形態方面百花齊放，但民歌的創作始終沿襲著中華民族音樂的基礎規范，反映了中華民族特有的審美情趣，是中國乃至世界杰出的口頭藝術瑰寶。

Chinese folk songs reflect the lives of the laboring people, which contain the high artistic value. Although it seems as an improvisation and diverse in the musical scale, structure and form, the creation of folk songs always inherits the basic norm of Chinese national music system, reflects distinct aesthetics of Chinese nation and becomes the vocal art treasure of China and world.

（支持單位：上海市質量和標準化研究院）