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本文从音乐形态比较研究的角度研讨中日旋律的相似性 ,认为中日旋律的典型风格并无普遍意义的同一性 ,各属于不同的音体系。仅在中国局部地区如新疆维吾尔族自治区的民间音乐旋律中 ,存在着与日本旋律的深层次的相似性现象 ,具体体现于音阶、音调和旋法等形式要素的特征上。本文以实例比较分析论证了这一观点 ,并结合历史文化略论这一局部相似性现象 ,是盛唐时期胡乐一度入主中原乐坛和中日两国在当时频繁的音乐交流等音乐历史现象的现代遗留物。
This paper discusses the similarities between the Chinese and Japanese melodies from the perspective of the comparative study of musical forms and holds that the typical styles of the Chinese and Japanese melodies have no common sense of identity and belong to different sound systems. Only in the folk music melodies in some parts of China, such as the Xinjiang Uygur Autonomous Region, there are deep-seated similarities with Japanese melodies, which are embodied in the features of the form factors such as scale, tone and spin. This article demonstrates this point of view by comparative analysis of examples. Combining history with culture, this phenomenon of local similarity is a historical phenomenon of music that once belonged to the Central Plains music scene in the prosperous Tang Dynasty and frequent music exchanges between China and Japan Modern remnants.