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维吾尔族《十二木卡姆》中的部分段落选用了以阿鲁孜格律写成的古典诗歌作为唱词。产生于阿拉伯文学的阿鲁孜格律体系约从公元十世纪开始,经由波斯文学传到了新疆,被维吾尔先民所接受。阿鲁孜原本是以阿拉伯语长短音节的组合与变换为基础的格律,有八种诗节、十九种格式。虽然维吾尔语的元音无长短区别,但经过几个世纪的融合,到了十五世纪,以艾利希尔.纳瓦依的作品为代表的维吾尔古典诗歌中,阿鲁孜格律的运用已经达到了臻于完美的地步。众多诗人的诗歌作品,被作为《十二木卡姆》部分段落的唱词在广大维吾尔人中传唱。阿鲁孜格律长短音节的构成形式,在两者的相互融合中,对《十二木卡姆》音乐产生了重要的影响。在对《纳瓦木卡姆》唱词格律与音乐旋律进行对应分析后,我们发现,唱词中阿鲁孜格律长短音节在音乐旋律中对应的音符时值具有一些相似的特征,即短音节对应时值相对短的一个音符,且只出现在节奏节拍的弱位置上,而长音节对应音符的时值、个数以及音符所在的位置都比较自由。这就造成了长短音节结合时旋律节奏中常常出现附点节奏和切分节奏的原因。
Some sections of the Uygur “Twelve Muqam” selected classical poems written in the Arruz style as the lyrics. Originated from Arab literature, the Argudi law system began in about 10th century AD and passed through Persian literature to Xinjiang, which was accepted by Uyghur ancestors. Aruzi was originally based on the combination and transformation of long and short Arabic syllables, with eight stanzas and nineteen formats. Although Uyghur vowels have no difference in length and shortness, after several centuries of integration, in the fifteenth century, the Uyghur classical poems represented by Elijah Nawaii’s works have achieved the application of Aruze’s law To achieve the perfect point. The poetic works of many poets are sung in the Uyghurs as a part of the passage “12 Muqam”. The composition of long and short syllables of Aruzi’s grammar has an important influence on the music of “Twelve Muqam” in their mutual integration. After analyzing the phonetic transcription of “Namwamukam” and the melody of music, we find that the musical note duration of the long and short syllable of Aruzi in the lyric has some similar characteristics when the short syllable corresponds A note with a relatively short value appears only in the weak rhythm beat, while the length, number, and position of the note in the long syllable are freer. This has resulted in the long rhythm syllable melody rhythms often appear attached to the point rhythm and segmentation rhythm.