《二泉映月》中“魚咬尾”的運用

畢業(yè)論文

摘   要

《2泉映月》是我國民間盲藝人阿炳（華彥鈞）的2胡傳世之作，這首如泣如訴，極富歌唱性的樂曲在國內(nèi)外音樂界影響頗大。它吸收蘇南1帶的民歌及常錫灘簧的音調(diào)，曲調(diào)委婉，感情細膩。樂句之間環(huán)環(huán)相接，連綿不絕，可以說是比較典型的頂真格旋律，即后1樂句的第1音用前1樂句最末1個音，這在民間樂曲中稱為“魚咬尾”。
    阿炳在《2泉映月》中將“魚咬尾”連接手法巧妙地通篇運用，在研究它的創(chuàng)作素材、曲調(diào)、旋律、情感表達、演奏技法等音樂特色中具有很重要的意義和價值。
關(guān)鍵詞：魚咬尾； 連接手法； 創(chuàng)作素材； 創(chuàng)編手法； 演奏技法
 

ABSTRACT

Two Springs Reflect Moon, a masterpiece of China’s flok blird musician named A Bing (or Hua Yanjun), has powerful influence in musical circles home and abroad dut to its tuning balenchly and singing traits. The piece absorbed elements from the folk,songs in South Jiangsu and tunes of Tanhuang in Changxi, possessing a tender and delicate feeling. The typical model is each line connected from edn to end. The first note of a line shares the same note of the last of the former, which is called “the fish bktes the tail” in folk melody.
The blind musician applied “the fish bites the tail” skillfuly all through the piece. A carepul research into the practice is of significance and value for its creation nesources, tunes, melody, emcotion expression and playing perforamance.
Keywords：The Fish Bites the Tail; Conuunctions; Creation Resources; Composition; Performance

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