Tone is a major feature of Chinese. Modern Mandarin has four tones: 1, flat tone: a Gao Pingtiao 2, rising tone: a rising tone 3, rising tone: a rising tone or a falling tone 4, and falling tone: a falling tone. Ancient Chinese also has four tones.
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Tones in ancient poetry can be divided into four types: rising tone and entering tone. Make progress three times and always squeak, indicating that it is uneven. These four tones are different from the rising tone and falling tone of Mandarin today. There are no Rusheng characters in Mandarin. In ancient times, some entering tones were classified as rising and falling tones, while others were classified as rising and falling tones. Because there is no entering tone in Mandarin, it is often difficult for modern people to grasp the level tone when appreciating and creating metrical poems.
To put it simply, the first and second sounds in Mandarin today are called flat tones, and the third and fourth sounds are called slurs.
Nowadays, there is a view about the use of flat tones in the poetry circle, that is, judging flat tones according to the tone of Mandarin, without sticking to the rhymes of the ancients.
As for the position of the level tone in metrical poems, that is, which word should be level tone and which word should be level tone, the ancients formulated strict norms in the long-term practice of poetry creation. Metric means strict specifications. So, as long as you fill in the words according to the rules of poetry.
The difference between metrical poetry and new poetry is that new poetry can do whatever it wants without any constraints. And metrical poetry must strictly follow the rules of metrical poetry. If you violate the rules, you can't call it a metrical poem. Just as Lao Mao said, "the correct poem must be even, and the uneven poem is not the correct poem."
Although metrical rules are strictly standardized, the ancients also created some flexible formats and methods in order to give poets some free space. The most common saying is that "135 and 246 are indistinguishable", that is, the first, third and fifth words of each sentence in a metrical poem cannot be written in a flat tone according to the metrical rules, but the second, fourth and sixth words must be written in a flat tone strictly according to the metrical rules and cannot be created at will. Of course, this sentence has a premise that 135 can be divided without three tones and three tones.
However, when writing poetry, not everyone completely follows the rules of metrical rules, sometimes they deliberately violate metrical rules, and sometimes they have to violate metrical rules in order not to damage the meaning of words. For example, Li Bai's sentence "The old friend resigned from the West Yellow Crane Tower" is not qualified. The first few sentences of Cui Hao's Yellow Crane Tower are also unqualified. Li Bai's quatrain "My foot is so bright" is even more unqualified. Li Bai's Thoughts on a Quiet Night is generally classified as classical poetry, so there is no problem of conforming to the metrical pattern, because classical poetry belongs to a kind of classical poetry and there is no metrical requirement for classical poetry.
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There is a serious misunderstanding in the traditional phonology on the interpretation of the leveling system. The biggest drawback is that "reading literature creates meaning", followed by eating the western rhythm theory alive. It's time to find the root of the problem.
The earliest explanation of the four tones is based on the words of Yuan He Yun Pu quoted in the Tang Dynasty: "Those who have a flat voice feel sad and safe, those who have a high voice are sharp, those who have a low voice are clear, and those who enter the voice are straight and fast."
In front of Kangxi Dictionary, there is a song called Four Tones Division: "The sound level is not low, the sound is loud and strong, the sound is clear and sad, and the sound is short and urgent."
The names and similar intuitive explanations of flat tones and mispronunciations are easy to mislead people, and it is easy to make people think that flat tones seem to be "flat" or long and heavy tones, while mispronunciations seem to be "uneven" or short and heavy tones.
Modern scholars, while following this misleading trend, eat up the western phonology alive and take the flat tone system as the basis of constructing the rhythm law of China's poetry, which leads to the misleading of poetry theory.
As early as the May 4th Movement, Wang Guangyi said in the Law of the Weight of China's Poems and Songs: "In terms of quality, a flat voice is stronger than a flat voice. At the beginning of pronunciation, the words with gentle voice are extremely grand and powerful, but they can always maintain their inherent strength when they continue to extend. Therefore, I compared China's flat tone with the stress of western languages and the long tune of ancient Greece, and put forward the theory that flat tone is the cause of China's poetry. "
Mr. Wang Li also inherited this explanation and made a further development: "On the first question, the tone is naturally characterized by' (pitch'), but the length is also related to the rise and fall. Judging from the tone in the Middle Ages, there were probably only two kinds of tones in ancient times, namely, flat tone and entering tone. In the Middle Ages, the largest part of the upper sound comes from the entering sound, and a small part comes from the flat sound (or the falling sound from the flat sound to the upper sound). When the process of two tones evolving into four tones is completed, according to our idea, the tone is long and will not rise or fall; All three notes are short, rising or falling. This naturally falls into two categories. The word "flat" means neither rising nor falling, and the word "uneven" means "uneven" (such as dangerous mountain roads), that is, rising means falling. (The word "Shang" should mean upward, the word "Qu" should mean downward, and the word "Zai" should mean extremely short. The ancients thought that "Ping", "Shang", "Qu" and "Jin" were just representative words and meaningless. Now it seems that this is not the case. If our idea is good, the use of ping and ping is also the use of long and short, and the use of ping and lifting or upgrading. " [Wang Li's Law of China's Poetry] 7
As for the function of the leveling law, Mr. Wang Li further deduced: "The second question is closely related to the length of use. English poetry has a so-called weight method. English is a language with light and heavy sounds as elements, so it is natural to use light and heavy as the rhythm of poetry. If, like Greek and Latin, long and short sounds are the elements, poetry will not pay attention to the light and heavy law, but to the long and short law. (The Greeks called the one-long and one-short method iambus, the one-long and one-short method trochee, the two-short and one-long method anapest, and the one-long and two-short method dactyi. It is unreasonable for the British to use these four nouns to refer to the light and heavy method. From this point of view, China's modern poetry is a long and short law, and it is a long and short law. Of course, China's poems are different from western poems, but their rhythm principle is the same. " [Wang Li's The Law of China's Poetry P7]
In fact, as early as 193 1, Mr. Zhu Guangqian took Beijing dialect as an example in "Analysis of the Rhythm and Rhythm of China's Poetry (Part I)", and proved with phonetics knowledge that there is no contrast between Pingsheng and Nuo, and the length is smooth and tortuous, so it is even. I have also investigated the actual tones of many modern dialects, and it is true. However, this research method also has some shortcomings. First, several dialects can't prove that all modern dialects have the same conclusion. Even if we study every modern dialect, we can't prove that ancient languages have the same conclusion. Moreover, this kind of textual research is too complicated for all readers to understand, and this kind of discussion is difficult to popularize.
Melody is the second of the three elements of music, and its beauty is as important in poetry and music as it is in music.
The melody beauty of poetry is not mysterious, it is inextricably linked with the formation of the musical melody of special songs; The elements that make up the melody and the development techniques are very similar.
The concept of melody in music has broad sense and narrow sense. Melody in a broad sense, that is, tune, contains four elements: tone, rhythm, tone and mode. Melody in a narrow sense mainly refers to "tuning lines". Interestingly, the musical beauty of poetry also includes four elements: tone, rhythm, intonation line and rhyme. These two names are not only one-to-one correspondence, but also the position, function, development and change law of the four elements in the melody are very similar. Especially in song creation, the relationship between them is closer.
The first element of music melody is the pitch; When the melody line formed by the fluctuation of tone is combined with certain rhythm and mode, the melody of music is formed. Take drums and violins for example. The drums are pure, with the rhythm of serious illness, which is shocking. It has no melody because its pitch has not changed. More violins with different pitches can touch your heart with melodious melodies.
Of course, the first element that constitutes the beauty of poetry melody is pitch. When the pitch line formed by the fluctuation of tone and pitch of Chinese poetry language is combined with certain rhythm and rhythm, the unique strong melody beauty of Chinese poetry is formed.
English and Russian poetry takes sound intensity as the first element, with strong rhythm beauty but weak melody beauty. Because they only have tone sandhi and lack tone sandhi; Although the pitch of their syllables is not constant, this change is weak, monotonous and unfixed, far less complicated, beautiful and rigorous than the pitch change of Chinese tones, especially it is impossible to artificially arrange the pitch change of syllables to enhance the aesthetic feeling of melody. This is why foreigners envy China people for talking like singing.
Song composers have a deep understanding of the relationship between tone, intonation and melody: "When creating a song's musical theme, we should pay attention to keeping the tone as consistent as possible with the fluctuation of the intonation of the lyrics, so as to naturally express the feelings contained in the lyrics and listen to the lyrics clearly." (Note 1) "Poetry and melody can be combined into an art-the art of songs, because there are factors that combine with each other, that is, inhibition, promotion, stagnation and frustration in tone." (Note 2) "Melody and intonation are basically the same in expressing feelings. In fact, the tune itself contains the color of pitch. " (Note 3)
It can even be said that the melody of the song is written by exaggeration, strengthening and adjustment on the basis of imitating the rhythm and intonation of the lyrics. Traces of this imitation can be seen everywhere in songs, especially in local operas.
In order to let people see the traces of this imitation more clearly, I marked the tones of several lyrics on the music score in the form of imitating the staff, and compared them with the melody score.
For the convenience of comparison, the five degrees in pronunciation are translated into the scales "1, 2, 3, 4, 5" in tone sandhi [the range of five degrees in pronunciation in practice is wider than that in music score]; For the time being, the pitch change caused by intonation is not considered, and the tone change is translated according to the actual pronunciation.
In the traditional poetic meter, there is a formula called "No matter what 135 is, 246 is clear". This formula is very consistent with the law of musical melody development.
We should understand that the most important thing is not their absolute pitch, but their direction, whether in music tunes or in tones and intonations. Because of any music, tone and intonation, their absolute pitch can be changed, but the direction will not change. For example, we can sing songs in a key, such as b key and c key, and the direction of phrases in music will not change. Similarly, when we say the same sentence, we can raise or lower the voice, and the tone direction of each word will not change.
Musicians Mr. Yang and Mr. Yin Falu have long recognized the reasonable core of "135 regardless, 246 distinct", and they pointed out in the book "Song Song Creation Research":
"Jiang Baishi's phonology is an out-and-out' flat tone system', not a four-tone system; The level of singing is the same as that of Jiang Nanping and Xu Xi later, with a high [up, down and middle] voice and a low voice. In practical application, the so-called' high and low' is not an absolute pitch, but refers to two different directions: high or low. For example,' baa baa' jokes are not two tenors of the same degree, but several sequences from low to high; Similarly, the word "average" is not composed of two bass with the same degree, but several music sequences from high to low.
You should know that different times, different dialects, different tones, the actual tone value is also different. Now we should analyze the leveling system with the actual tone value of Putonghua, so as to facilitate the writing of new poems.
Tone in phonetics mainly refers to the pitch change of syllables. Generally, five-degree notation is adopted, with "5" indicating the highest degree and "1" indicating the lowest degree.
In Putonghua, Pingsheng includes Pingsheng and Pingsheng.
Level adjustment: Gao Pingtiao, adjust it to 55. Generally speaking, it is a high-pitched value, which rises slightly after pronunciation and finally drops slightly, with little difference between the beginning and the end.
Shang Sheng: Shang Sheng, worth 35. The starting point is lower than the horizontal adjustment, gradually rising to the height of 5, and the ending point is higher than the horizontal adjustment starting point.
Mispronunciation includes rising tone and falling tone.
Top voice: 2 14. The starting point is lower, slightly lower, higher, and the ending point is higher than the above voice. It took a short time to rise.
De-voiced: all dropped by 5 1. It starts at the end of the rising sun and then plummets to the lowest degree of 1.
What we want to discuss here is tone sandhi. Many strange rules in the meter of classical poetry are often related to tone sandhi.
We can pronounce four tones clearly by pronouncing a monosyllabic word. Can be polyphonic, tone sandhi will occur. This change is called "tone sandhi".
There are mainly two kinds of tone sandhi, one is light tone in modern spoken language (light tone is familiar to everyone, so I won't explain it); The other kind is tone sandhi in spoken language, which is called "tone sandhi". Tone sandhi is the most important tone sandhi in the level tone system of Putonghua. Only when the upper voice is read at its own pace (mainly alone or at the end of a sentence) can its short and curved tail be read, and it is easy to squeeze out the curved tail when reading continuously; Specifically, the upper voice becomes a bass 2 1 1 before the non-upper voice, and the upper voice approaches the rising tone 35 before the upper voice. There are also many subtle changes in other tones, which have little influence on the rhythm of poetry and can be ignored.
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