The Study of Runqiang in Chinese Folk Music/ETUDE DU VELOUTEMENT DU TON DANS LA MUSIQUE VOCALE NATIONALE DE CHINE
Notice bibliographique
Résumé
Abstract: Runqiang has the important functions of beautifying, decorating and refining singing styles. This article analyzes the concept of Runqiang, its formation origin and its compositional structures. Key words: Chinese folk music, Runqiang Resume: Le veloutement du ton joue le role d'embellir, de decorer, d'enjoliver et de representer le style. Le present article effectue une analyse du veloutement du ton sur les plans du concept, de l'origine et de la structure. Mots-Cles: musique vocale nationale de Chine, veloutement du ton Chinese folk vocal music is rooted in the background of Chinese culture, based on Chinese language and characterized by a unique way of pronunciation and intonation, which emphasizes the correct pronunciation, smooth and the deep emotion behind them, all of which makes Chinese folk music an art of singing which combines emotion, pronunciation, and intonation.2 Therefore it is necessary not only to grasp the correct ways of pronunciation, but also to master various ways of Runqiang in Chinese folk music so as to reach the effect of expressing rich emotions through singing. Runqiang is a series of unique skills formed in the course of the development of Chinese folk music to beautify, decorate and refine singing styles.3 predecessor Zhangbo Dong has once pointed out Both music scripts of JiuGongDaCheng and NaShuYing marked the first and third beats in a four-beat line, leaving the second and fourth beats unmarked. Huaiting Ye has also said The minor beats are marked for beginners. experienced singers can detect them all by themselves. On the contrary, it constrains the professionals if all the beats are marked in detail. tunes of Chinese music (mainly Han music) is often changed, decorated and developed according to different lyrics, music types, singers, time and places so as to reach the effect of richness of music, which is what is called The framework of a piece of music is the tunes while the highlight is in singing4 It sets emotions as its center and relies on various ways of Runqiang to refine and supplement the inadequateness of tunes to express emotions; it also mediates between pronunciation and tunes and describes the characteristics and images in the music. Though it does not exist independently, it is an indispensable part and functions coordinately with tunes. 1. THE ORIGINALITY OF THE FORMATION OF RUNQIANG To explore the originality of the formation of Runqiang, we found that the application of Runqiang as a music style in Chinese music can not be separated from the traditional music system which is based on yinchang (a unique way of singing). Yinchang refers to a particular way of singing characterized by a certain kind of flexibility of melody; the is relatively fixed rather than invariable. That is to say, in most cases, people pick out different lyrics in accordance to the dominant tunes and play out different music styles according to different time, places, melodies and audiences. Since the traditional Chinese singing was in the form of yinchang, the tunes and pitches tend to vary greatly. For example, many old Chinese music scripts, including the popular gongchi music scripts in modern times, had a universal characteristic, that is, there was often only a basic framework of music tunes, representing the dominant tones without specific description of details of the musical piece. It follows that strict control and script control are not suitable for Chinese music. They would confine a good singer to explore fully the details hidden in the music script, by which to transfer a dead tune into a living tune and a dead voice into a living voice, which is a general rule of Chinese traditional music. Runqiang is a unique phenomenon in Chinese music. It originates from the yinchang system, whose originality was related to the long practice of Chinese singing and affected by language rales, singing habits, esthetic requirement and types, especially the system of Chinese language. …
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Prédiction distillée sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Apprise à partir de 10 348 étiquettes directes de Codex et de 10 348 étiquettes directes de Gemma. Le mode candidate est l'union des têtes enseignantes seuillées; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont ni des étiquettes humaines ni des étiquettes directes de modèles de pointe.
Scores Codex et Gemma par catégorie
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,001 | 0,000 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,000 | 0,000 |
| Études des sciences et des technologies | 0,004 | 0,004 |
| Communication savante | 0,000 | 0,000 |
| Science ouverte | 0,001 | 0,000 |
| Intégrité de la recherche | 0,000 | 0,000 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,000 | 0,000 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
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