Second, the historical development 1, the tune of the language
2. Romantic music
III. Classification 1, Vocal Music and Instrumental Music
2. The essence of musical thinking
Fourth, the structure, development principle and rationale of the tune 1
2. Development
Step 3 compare
4. The tune of China's music.
5. China's tune structure.
The melody of Lin Yuzhong's songs
Animated character melody
Tchaikovsky's melody I, introduction
Second, the historical development 1, the tune of the language
2. Romantic music
III. Classification 1, Vocal Music and Instrumental Music
2. The essence of musical thinking
Fourth, the structure, development principle and rationale of the tune 1
2. Development
Step 3 compare
4. The tune of China's music.
5. China's tune structure.
The melody of Lin Yuzhong's songs
Animated character melody
Tchaikovsky's melody
[Edit this paragraph] 1. introduce
Melody is also called melody. Is the basic element of music. The organized and rhythmic harmonious movement formed by several musical notes through artistic conception. It is a single voice with logical factors, which is based on a certain mode and beat, according to a certain pitch, duration and volume. It can be the whole of single-part music or the main part of multi-part music. In music works, tunes are the main means to express feelings, and also the artistic language to reflect people's inner feelings. It is generally believed that tunes are the soul and foundation of music. There are various musical expression factors in the process of 1. tune, but there are also two essential basic elements that constitute the tune: tone line (or pitch line) and rhythm. On the spatial aspect of sound: in the continuous melody process, the process of forming various straight lines or curves due to the pitch direction is similar to the extension or fluctuation of lines in the picture, so it is called melody line; About the time of sound: Only when sounds with different pitches (i.e. melody lines) are issued one after another, and combined with the expressive functions of various musical rhythms, such as length, speed and pause, can melody form various syntax and structures of music. 2. Rhythm: Vivid language rhythm and rich life rhythm are the natural basis of melody rhythm; The rhythm formed by the tone of language, the level of voice, the priority of language situation and the cadence of tone is the natural basis of tune line. The organic combination of mode, line and rhythm, and reflected through a certain musical structure, is a complete piece of music. However, the basic elements of all kinds of music have different functions in different music or different parts of music. Sometimes rhythm and beat are more significant; Sometimes the meaning of pitch and timbre is more prominent; Sometimes modal expressions have special meanings. In any case, they are a complete artistic unity, subject to the artistic expression of tunes.
[Edit this paragraph] II. Historical development
1, the tune of the language
The earliest music of mankind is the tune of language. This is a singing language extracted from the rhythm and stress of human language. /kloc-The music of European narrative poets and chanters in the 0/2nd century refined iambic and long-short meter ups and downs in poetry into tunes, but only strengthened the melody on the premise of respecting the syllable stress of poetry. It can be seen that language reading plays a direct role in song creation. In the late Middle Ages and Renaissance, music was less bound by language, and the melody of music began to be valued. At that time, the role of melody was emphasized in theory, and it was considered that vividness, vividness, sweetness and easy singing were the standards of melody beauty. 15th century and the second half of16th century, the creation of folk songs and artistic songs has been very prosperous, and the church's polyphonic music is in full swing, with simple lyrics and emphasis on music. Melody is decorative and gorgeous, advocating rigor and symmetry in music. After 1590, the single-part tunes with accompaniment have developed greatly. Composers put forward new ideas and changed the musical style of the last century, emphasizing the use of new expressions in tunes, strengthening the recitation of tunes, and adopting free rhythm to speed up or slow down music according to the meaning of lyrics. /kloc-at the beginning of the 0/7th century, Italian opera creation developed coloratura singing in the tune of combining singing and recitation. Due to the appropriate permission to add improvisation, the skill of "adding flowers" in singing has been brought into play, thus greatly promoting the development of tone sandhi art. In vocal music creation, the master-slave relationship between words and music, language and melody has been explored by composers for centuries and has formed a tortuous development.
2. Romantic music
/kloc-in the late romantic music from the end of 0/9 to the beginning of the 20th century, tonality lost its natural center of phonology due to the abuse of chromatic harmony, and the melody art gradually declined in chromatic harmony. Since the 20th century, composers from different countries have shown different explorations and pursuits in music creation. Some people cautiously expand the expressive force of traditional music and pursue new melody beauty; Some people expand the concept of tonality while maintaining the principle of tonality, and the development of their tunes is logical. Even if atonal music fragments appear in the process of music development, they are only used as the expression means of musical emotional opposition. Some composers' works belong to free tonal music with twelve semitones equal, and the tunes are difficult to remember and understand. Some composers write music without theme and tonality, that is, sequence music and series music. They use the twelve-tone composition method and compose music according to the principle of free variation. They don't recognize the theme principle in the music structure, and rarely have the same repetition. Long-distance intervals are often used for the progress of tunes. In vocal music, oral tunes are adopted, and recitation or simple recitation is the main musical expression factor. Music written by twelve-tone technique is rarely widely circulated. In some modernist music works, in fact, tunes do not exist.
[Edit this paragraph] III. classify
1, vocal music and instrumental music
Because vocal music and instrumental music have their own characteristics, they are also different in tune form. Vocal music tunes are closely related to humanistic conditions and language habits. Generally speaking, vocal music tunes have a narrow range, and singing is its main feature. Instrumental tunes are directly related to the performance characteristics of specific instruments and vary with different instruments. Generally speaking, it has a wider range than vocal music tunes, and there are more big intervals to jump into, and the speed and intensity of music change greatly, which is full of rhythm and skill.
2. The essence of musical thinking
Judging from the development law of tunes themselves, due to the differences in the nature of musical thinking, they can be roughly divided into two types, namely, singing (recitation) tunes and playing (recitation) tunes. The former emphasizes the logic of music, the smoothness and stability of tunes, and the balance, symmetry and integrity of tune structure. Good at expressing feelings like songs and depicting the inner activities of characters. The latter emphasizes the characteristics of language, and its melody expression, pitch fluctuation and rhythm arrangement are also close to the laws of oral expression and expression in people's lives. In terms of vocal music tunes, some recitative tunes written by European composers have corresponding requirements for the melody of words because of their light and heavy rhythms; The light tone of words must match the light tone of music. The rhythm used is relatively free, even not limited by the bar line with the beat as the unit; Melody lines are relatively simple, which can be intermittent or even homophonic. China's recitation has its own unique style: of course, it pays attention to the light and heavy tone of language, but it is not as strict as foreign recitation; But there are strict requirements for the pronunciation of words, which should be plain and clear. This is an important standard for China people to recite music.
[Edit this paragraph] IV. Structure and development principles of tunes
1, motivation
Generally speaking, the smallest structural unit of a tune is motivation. As the motive at the beginning of a piece of music, it should have its own characteristics in interval and structure, usually hiding the internal harmony factors, forming a distinctive form, which runs through the development of the whole piece of music. So people say that the basic motivation of music is the "seed" of melody development. But not all music tunes are based on motivation, especially the tunes of songs. Because a song is composed of words and songs, it takes syllables of a language as the basic unit of words, and the basis of a song is a musical vocabulary similar to a festival called aria. There are many ways to develop motivation and melody, and they are still developing with the update of music creation methods. There are four basic skills: repetition and change. Repetition is often used to promote the presentation and development of music and deepen the memory of listeners. It can be a simple repetition, or it can just repeat its rhythm and part of the pitch, which is called variation repetition; It can be the repetition of motivation or phrases, or the repetition of the whole music theme. This technique can be used to develop or expand phrases; It can also be used as a structural technique of large paragraphs in music form (that is, full paragraph repetition). Strictly speaking, repetition is no longer the original statement of Lesi, but has the function of emphasizing and consolidating. Variations are often used to fully express musical ideas. That is, on the basis of retaining the original music material structure, decorative changes are made.
2. Development
Free use of the amplification, reduction and reflection of sound values, amplification, reduction and transposition of intervals and other methods, the original material has been greatly changed. The most important of these technologies is die advance, which can also be said to be repetition at different heights. Specifically, we can adopt the following methods: constant adjustment die advance, rotary adjustment die advance and free die advance.
Step 3 compare
After the original material, new material is introduced to form a comparative festival or phrase to express more complicated musical ideas or themes, so as to obtain contradictory factors, enrich the content of musical ideas or produce dramatic effects. It can be the juxtaposition of new materials; It can also be derived from the original material to form a derivative contrast. All these basic techniques need to be comprehensively applied in practical creation in order to achieve the purpose of shaping the image of music. In the creation of western instrumental music after the middle of18th century, the drama of music has been strengthened, and composers tend to create music with sharp contradictions and conflicts. Therefore, the continuous development of motivational writing and unfolded music structure became one of the characteristics of music creation in this period. In the development of musical materials, Haydn, Mozart and Beethoven tend to be dramatic musically, and they adopt the theme structure writing method of combining multiple motives instead of the single motive to develop the theme. They also adopt the multi-theme comparative writing method within and between movements. However, some composers of romantic music school have returned to the theme writing with single motivation from the method of comparing various themes. They developed this single theme, formed the principle of musical form, and extended it to the whole suite, symphony, concerto and even drama music.
[Edit this paragraph] 4. The tune of China's music
China is a multi-ethnic country, and the tones of languages in different regions, such as pronunciation parts, tones, expressions and pronunciation trends, are quite different, which brings various colorful local music styles. At the same time, China's inherent musical and cultural traditions, all kinds of opera music, folk music, instrumental music and vocal music, all appeared with their own unique musical styles, and were integrated into China's overall music. The folk music of all ethnic groups in China is an extremely rich music treasure house. Since the May 4th New Culture Movement, China's professional music creation has greatly enriched this treasure house.
[Edit this paragraph] 5. China's Melody Structure
The structure and development of China's tunes have similar principles, but there are obvious differences due to the differences in cultural traditions and aesthetic requirements of various ethnic groups. Variation is an important means for the development of China folk music, which is different from variation of western music and has its own characteristics. It is common to add flowers to the tune, and the structure remains unchanged when changing, but the beat of the music is expanded or compressed; Another form of variation is to expand or add new materials at the same time as music variation, which is a kind of free variation. Some songs are written by inheritance at the end of the first sentence and the beginning of the second sentence, which is actually a variation. In the development of folk music tunes, the uninterrupted answering method is often used to expand musical thinking. It leads music to a climax through the opposition of different sound zones, timbre, strength and speed. The repetition of music is also an important way for China to develop his musical thought, and the power of music is formed through the repetition of tunes many times. In the process of increasing the intensity of music, the composer consciously subdivides the repetitive structure to strengthen the intensity of music again; When music reaches its climax, there is usually only one voice left to repeat continuously. Although the development of Chinese and western music tunes adopts the methods of variation, contrast and repetition, they all have their own national characteristics. On the principle of music structure, China folk music widely adopts the music structure of connecting the preceding with the following, consolidating development and summarizing to organize music thoughts. Through the research and analysis of ancient music in China, we can get a glimpse of many musical structural laws with national musical thinking. For example, in the "entanglement" of the folk singing method of "singing for profit" in the Song Dynasty, the circular structure in music was formed on the principle of alternating turns; On the couplet structure formed by the combination of many Song cards from the perspective of "Qu Xu"; The structure of "scattered-slow-middle-fast-scattered" formed by different musical speeds of Daqu in Tang Dynasty. These structural principles with national characteristics have been inherited and developed in today's music creation.
[Edit this paragraph] Lin Yuzhong's song melody.
You are the music in your eyes, the most touching song, and you play the feeling that the whole world suddenly lights up. Now I look at your face, forgotten forever in a strange street. Let's meet the lost people and find our way home. I will cherish your beauty and forget who lost you yesterday. I am willing to accompany you to get you back. I am willing to accompany you to find yourself. When your name turns into a melody in my mind, I have determined that that person is the most beautiful person in my heart.
[Edit this paragraph] The melody of animated characters
Said by: "Hunter × Hunter" first appeared in the 45th episode of TV, and met a cool Rapika (seiyuu: Kaida) who successfully cultivated chains. Japanese name: せンりシシシ Seiyuu: Tarako Occupation: contract hunter (hunter employed by powerful people). Take what the employer wants, be the employer's guard and so on. ), music hunter (a hunter who specializes in collecting and protecting music-related things) Personality: gentle like a big sister. Working partners: Kulapika, Sukuwara (killed by Nobunaga), Melody, Feijie (killed by water droplets), Banana, Ivarif (killed by water droplets from Phantom Troupe at the auction site during the first underground auction). ), Doshino (killed in the first underground auction) Ability: Can hear the slightest sound and distinguish it. Belonging to the publishing system. He is an excellent music hunter, proficient in temperament and keen in hearing. Being able to listen to other people's heart sounds, so as to know this person's life experiences such as mood, mental state, lying, etc.: When the 52nd episode of the TV edition held an underground auction, Melody told Kulapika about his life experiences, and the reason why he became like this was that he also listened to the [Dark Sonata] (a solo created by the devil, which can be played by four instruments, namely piano, violin, flute and harp. It is inevitable that it is impossible for human beings to play or listen. Remarks: Melody, like Kula Pica, is a bodyguard of the Northra family. Although Kula Pica was wary of Melody at first, after they told each other their secrets, Kula Pica regarded Melody as a good partner, especially when catching Phantom Troupe, and Kula Pica turned to Melody for help.
[Edit this paragraph] Tchaikovsky's melody
Pyotr Il'yich Tchaikovsky's melody is the third song selected from the collection of violin and piano ditties "Memories of a Lovely Place". Created on 1978. The melody is in e flat major and written in trilogy. The first paragraph speaks at a moderate speed and has a rich theme like a song. Small repetition is connected with the quick pause of the passage from bass to treble, which is light and lively. The second paragraph is also very elegant and moving, with a little humor. Because the speed is relatively fast, the continuous use of bow, bow jump, decorative sound, pause sound, and the change of strength, this paragraph is very fascinating. Next, it is the connecting part that reproduces the transition before the first paragraph. The violin trembles on the high note D, and the piano plays a theme. After a few bars, the violin is pushed up gradually until it spreads gradually, and then the first theme is introduced. Finally, it is a brief conclusion, which is consistent with the first paragraph in style. In other words, it developed from the first paragraph. The music ended in a soft, warm and warm atmosphere. Pyotr Il'yich Tchaikovsky's melody is like an idyllic sound painting. The audience can also share the happiness and joy of rural life. Because of its beautiful melody and rich Russian flavor, it is widely appreciated by people.