中華文明的藝術奇葩——民歌（下）

文/五花肉

中國民歌歷史悠久，具有豐富的體裁和多樣的風格，對于民族文化的交融和發(fā)展，起著不可忽視的推動作用。其中，自由奔放、曲調優(yōu)美、瑯瑯上口的陜北民歌信天游，就是我國民歌體系中具有鮮明特點的曲種之一。

The Chinese folk songs have a long history and various genres and styles, which propels the integration and development of national culture.Xintianyou, Northern Shaanxi folk songs, which features free, bold rhythm and sonorous singing, is one of the distinctive folk tunes in national folk songs system.

信天游也叫順天游，主要流傳于陜北、寧夏等地，溝壑遍布的獨特地貌和黃土高原的生活方式，賦予了信天游寬廣、豪邁的音樂特質。

Xintianyou, literally "rambling in the sky," is also called Shuntianyou, which is very popular in the Northern Shaanxi Province and Ningxia Hui Autonomous Region. Widely distributed gullies and ravines, the lives and customs of the people living on the Loess Plateau endow Xintianyou with free and bold style.

黃土高原的聲調標準 Tone Standard in Loess Plateau

在當地，人們勞作空隙時習慣站在黃土峁頂，大聲地呼叫和對答。因為距離較遠，為了彼此更清楚地交談，他們會把聲調喊得很高，聲音拖得很長，在高低長短間形成了獨特的韻律。以此為標準，峁頂之間的喊話逐漸演化為今天的信天游。

During the rest time of work, people in Loess Plateau used to stand on top of the loess hill and talk loudly to each other from a distance. In order to inform the other clearly, they have to talk in a high and long voice and therefore a free and sparse rhythm gradually takes shape. According to the standard, this conversation style in loess hills top later became known as Xintianyou.

雙四度音程的旋律標準 Double Forth Intervals in Rhythm Standard

信天游的調式特征極為明顯，擁有標準的“雙四度音調結構”，以主音及其上方四度音和下方四度音為骨干音型，每個單樂段中，上句具有開放性，下句具有收攏性，四度上下跳進，在旋律的重要部位尤為突出。

Xintianyou has a double forth intervals structure.The key consists of tonic, its fourth above and fourth below. In every musical periods, a high tune in the first line of a song, which drops slowly in the second line. the forth leaps in up and down, especially the important part of the melody.

兩句一節(jié)的填詞標準 Two-phrase Form in Lyric Standard

與旋律相呼應，信天游的歌詞也是上下句結構的兩句體，填詞以七言為主，多用疊字、重字和重詞。受樂句限制，信天游的歌詞多為兩句一節(jié)、兩句一韻，下一節(jié)可以換韻，亦可不換。這種獨有的傳統(tǒng)在信天游的長期發(fā)展中，始終被視為填詞的正統(tǒng)標準，體現在絕大多數的信天游歌曲之中。

Corresponding with melody, the lyrics of Xintianyou is two-phrase form which is generally seven syllables per phrase; it applies reduplicated words, repetitive words and terms frequently. Due to phrase limit, the lyrics are mostly two phrases per section, two phrases one rhyme, it may change the rhyme in next section or not. This distinctive tradition is always regarded as an authentic lyric standard during the development of Xintianyou, and is embodied in the most of Xintianyou songs.

特定假聲的演唱標準 Specific Falsetto in the Performance Standard

信天游的演唱方式比較自由，同一首歌，可以根據歌詞的內容和演唱者的情緒，配以不同的曲調，唱出不同的感情，可長可短、可快可慢。由于信天游的大跳音程較多，音域寬廣，很多段落必須借助假聲完成。而且，假聲出現的位置相對標準化，通常在拖腔之后的上方四度裝飾音處，形成鮮明的前后對比，具有濃厚的陜北氣息，這也是信天游區(qū)別于其他民歌的標志性特征。

The performance of Xintianyou is free-style.According to change of lyrics and moods, with different melodies, singer usually expresses different feelings. Due to lots of big jump intervals and a wide register, some sections are performed with the application of falsetto. It forms a standard concerning the position of falsetto, usually appear at the forth grace note after prolongation of intonation, then produces an obvious contrast, features rich northern Shaanxi culture. This is also a signature feature of Xintianyou differing from other folk songs.

結 語 Conclusion

千溝萬壑、連綿起伏的陜北高原孕育了悠揚的信天游，這是一部用老镢鐫刻在西北黃土高原上的傳世巨著，是黃坡黃水之間的一朵奇葩。一曲高歌，響遏行云，掃去靡靡之音，催人向上。

The undulating northern Shanxi plateau with widely distributed gullies and ravines nurtured the melodious Xintianyou. It is a masterpiece engraved by an old hoe in the Loess Plateau; it is a wonder found between the Loess Plateau and Yellow River. Sonorous singing sweeps off the decadent melody and encourages us to make progress.