"the relationship between poetry and music" seems to have become a "prominent study" in recent years. This issue is often mentioned in academic conferences on poetry, ci, qu, and even Poetry and Fu. As a special academic conference, maybe today is the first time. It is very exciting that there are so many participants and many young and middle-aged scholars.
The meaning of the sentence "the relationship between poetry and music" is clear to everyone, but the word "poetry" itself contains "music", so can this formulation be revised? Or we can say: "the relationship between poetry and music", or simply say: "the relationship between poetry and music". Personally, I am used to speaking in two sentences. One sentence is: "The relationship between' literature' and' music' in singing"-singing is the combination of' literature' and' music'; Another sentence is: "the relationship between verse and music"-although any verse (even prose) can be put into singing, in reality, there are some verse genres and works that are not written for singing.
I have read some related works and participated in many related academic conferences. It can be said that this content is to discuss "the relationship between rhyme and music"; Accordingly, all the authors of these works, the sponsors and hosts of these academic societies and almost all the participants are scholars in the literary world. For example, the so-called "vocal poetry" and "the relationship between words and music" are all put forward and studied by literary circles. This topic, of course, is not only for the literary world, but also for the music world. In the music industry, there are also studies on the relationship between "music" and "prose", but mainly the relationship between "musical image" and "artistic conception of lyrics" or "melody" and "pronunciation" when creating songs today; It has rarely entered the breadth and depth of the study of the relationship between literature and music in the field of image literature, at least it has not fully studied the relationship between Chinese national music and traditional verse.
this phenomenon is also natural. China is a "land of poetry and prose". For thousands of years, the height and depth of the development of national traditional rhymes are far superior to music-this is a very different historical reality between China and foreign countries such as European countries. Perhaps we only need to look at one phenomenon to understand that singing is a combination of "literature and music". In China, the legacy of "music" (forgetting and giving up) has been abandoned and become "(rhyme) literature"-"poetry", "Sao", "Fu", "Yuefu", "Poetry", "Ci" and (North-South) music. And what about European countries? We can put aside the "words" in singing and separate the "music" into instrumental music (this situation only appears in the "Qin" in China, but the Qin is just beyond our research scope). In our country, verse forms the text structure, sentence pattern and metrical structure of many styles as mentioned above; What about the music? It seems that the concepts of "music style" and "music style" have never been produced (not in ancient times); In Europe, on the contrary, the style and form of music, from phrases, paragraphs, harmony and counterpoint to movements, music, symphonies and operas, are standardized and complete, but what about their "words"? Apart from the so-called "sonnets", their rhymes have no definite and standardized "style". Is that right?
Mr. Jiang Baishi himself said that his words (and then those musical sounds) were composed by "saying long and short sentences at first, and then combining them with rhythm". How can there be such a thing as "music score" and then "filling words"? Because it's impossible.
the fact is that the relationship between "Wen" and "Yue" in various genres and styles of singing in China is generally: "Wen" is the main one, while "Yue" is the subordinate one. To be more specific, there are four articles:
1. Articles and chapters that take pleasure in articles and chapters;
second, take the rhyme (discontinuity) of the text as the "residence" in music-roughly equivalent to the "music section" today;
Third, take the "sentence (break)" in the text as the "meal" in the music-roughly equivalent to the "music sentence" today;
Fourth, take the "step festival" in the sentence as the combination of "music festival" in the phrase;
There are few exceptions to the above four items. On the premise of these four items, how to combine specific words, sentences and musical melodies can be divided into two categories:
One category is: singing all kinds of words with a stable or basically stable melody (which I call "tune");
one is: the flat tone of the pronunciation of the words and phrases is changed into musical tone to form a melody;
The former is what I call "delivering a speech with a cavity", and it is typical of "songs in sections", such as numerous "folk songs, minor tunes" and today's songs. For example, Orchid Flower can sing "Blue Line, Blue Line, Blue Ying Ying Land" and "If you are going to die, you will die early" in exactly the same melody.
the latter, which I call "singing according to the sound of words", is typical of "singing in songs", such as the first sentence of Peony Pavilion Garden [Soap Robe]
"The original colorful flowers bloom all over", and its music must be based on the sound of words "rising tone/,rising tone/,going ∧.
Generally speaking, there are the above two categories. However, in China's singing, the position of "Wen Ci" is always the first. On the one hand, there is no "song without words" in China (at least in history) as mentioned above. On the other hand, even in singing with "certain singing", if there is too much contradiction between the melody of music and the pronunciation of words, singers often make some adjustments to the singing, that is, the so-called "moistening cavity" and "small cavity" to adapt to the pronunciation of words. More questions can't be said here.
So, looking back, I want to say a word to my fellow musicians: I think there are two phenomena that can't be ignored and despised: First, western music (its thoughts, concepts, concepts, theories and even the terms used) has covered our country in an all-round way in the past hundred years; Another is that our music circle has not paid enough attention to "the relationship between our own national rhyme and music" and "the relationship between literature and music in singing", and our enthusiasm for learning "literature" in the music circle is far less than that in the literary circle. Isn't it?