文/五花肉

中华文明的艺术奇葩
——民歌（中）

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

文/五花肉

“五十六个民族，五十六枝花”，独具的民族特色，逐步形成了我国北方草原、西部新疆、西部藏族、西南高原、东北平原、西北高原、中原及东部沿海七大风格迥异的民歌分布区域。虽然歌种繁多、体裁各异，历经华夏民族文化融合的民歌，在凸显特色的基础上，也继承和发展了民族音乐的共性“标准”。

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.

标准的音阶调式 Standard Musical Scale

作为中华音乐体系的重要组成部分，我国民歌的音阶呈现出五声音阶与七声音阶结合的“标准调式”。七声音阶是在原有的五声音阶宫、商、角、徵、羽五音加上变徵和变宫两音而成。

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.

北方黄河流域民歌多以七声音阶、六声音阶为主；南方长江流域民歌则以五声音阶为主，同时还有各种三声、四声结构。在分布趋势上，七声音阶由北往南经过江淮民歌区，逐渐向五声音阶过渡。

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.

规范的曲式结构 Standard Musical Structure

我国民歌的曲式结构讲究前后对称、首尾呼应、层层递进，体现了平衡和谐的审美标准。民歌节拍以复数居多，节奏以均匀型为主，常见的变化主要是切分型，如汉族民歌在形式结构上，大多以五字句、七字句为其基础句式，以二句体、四句体为其典型结构。二句体以对应或变化重复为其发展手法；四句体多以起承转合为其发展手法。

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.

特色的音乐形态 Unique Musical Form

我国民歌的各种音乐形态与其社会功能、传唱方式有着直接关联。如劳动号子的社会功能是以实用性为主，其形态标准以“领”、“合”为基本形式，歌词多以第一、第二人称对应出现，多为触景生情即兴编词。山歌、牧歌的音乐形态标准则以表现性为主，由于其经常出现在山野或草原之中传唱，形成其高亢、悠长的曲调，灵活松散的节奏，腔长字少的音乐形态。

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.

结 语 Conclusion

我国民歌是劳动人民生活的真实写照，具有极高的艺术价值。虽然看似即兴而作，在调式、结构、形态方面百花齐放，但民歌的创作始终沿袭着中华民族音乐的基础规范，反映了中华民族特有的审美情趣，是中国乃至世界杰出的口头艺术瑰宝。

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.

（支持单位：上海市质量和标准化研究院）