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一个族群音乐概念的产生,肇始于族人日常生活的体认,并折射于其文化内涵之中。借着探讨达悟人①的音乐概念,可以寻找到其音乐声响与文化特质的关联性。因此可见,由于达悟人日常生活中的每一部份,均有音乐的实践,以致他们不再需要一个特殊词汇,来专门指称音乐声响。所以达悟人对于音乐,只以各别的歌曲称谓表达。而歌曲称谓本身,其实牵涉到歌词的意义与内涵,而这又和所利用的旋律相关联。因此歌曲名称、歌词内涵、旋律走向三者相互关联却不等同的关系,是对于达悟族旋律骨干音的归纳分类上应被重视的问题。而拍手歌会中,众人歌唱部分的声响概念,应可说是达悟人歌唱时虽想着相同的旋律轮廓及走向,但在实际歌唱中,却由于对不同歌者并无音高频率差距上的要求,因此声响上自然形成了多重相邻音高重迭的“串音”效果。
The emergence of a concept of ethnic music originated from the recognition of tribal people’s daily life and reflected in their cultural connotations. By exploring the concept of music, we can find the connection between musical sound and cultural characteristics. Thus it can be seen that since every part of the daily life of the Awakening has the practice of music, they no longer need a special word to specifically refer to the sound of music. Therefore, people who know music, only the title of individual songs. The title of the song itself, in fact, involves the meaning and meaning of the lyrics, which in turn is associated with the melody used. Therefore, the song name, lyrics connotation, melody is not related to the relationship between the three is not the same, for the Taoist group of the Taoist inductive classification of the key issues should be valued. The clap song, the singing part of the concept of sound, it should be said that although the singer is singing while thinking of the same melody profile and direction, but in actual singing, but because different singers do not have the pitch difference The sound naturally forms a “crosstalk” effect of overlapping multiple adjacent pitches.