摘要
客家山歌主要有宫调式、微调式、羽调式三种类别。微调式客家山歌主要流传在赣南地区。闽西和粤东北地区也比较常见。徵调式客家山歌的节奏比较自由、舒展.曲调高亢、明亮,多用上行五度框架和双四度上行八度框架的旋法单位或基本乐汇;其唱词通常是七言四句的格式,所用的曲调则基本上是上下句的结构;徵调式客家山歌的这些特点为远在数千公里之外的西北“花儿”所共有。本文以充足的曲例比较了二者的共性联系,并对二者的渊源作了探讨性的思考和假设。
The mountain folk songs of Hakka refer to those populous in the geographical areas inhabited by Hakka. Judged from the formats of scales, it has three modes . Gong, Zhi and Yu. Appearing mainly in southern Jiangxi, western Fujian and eastern Guangdong is the mode of Zhi of which the rhythms are free, and melodies high and bright using frequently the melodic frames of ascending fifth and octave combined with double fourths as its units and basic themes. The texts used in Zhi illustrate a format consisting four sentences with seven Chinese characters each; all the melodies are composed basically of an up-low structure. Interesting enough, these features of songs sung by Hakka are similarly possessed by those of Hua Er （Flower） sung by western Chinese who live thousands of miles away. This paper provides redundant illustrations to compare the two forms of songs and postulates the pessibilities of their common origins.
出处
《星海音乐学院学报》
2005年第2期36-42,共7页
Journal of Xinghai Conservatory of Music
关键词
客家山歌
花儿
信天游
永嘉南渡
Mountain Folk Songs of Hakka
Xin Tian You
Nandu Yongjia
