Four tones and flat and oblique tones
Tone is a major feature of Chinese. Modern Mandarin has four tones: 1. Yin Ping: a high flat tone 2. Yang Ping: a middle rising tone 3. Shang Tone: a low rising or low flat tone 4. Falling tone: corresponding to a high falling tone Yes, ancient Chinese also had four tones.
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The tones in ancient poetry are divided into four tones: flat, up, and in. The three tones that come up are collectively called the 廄 sound, and 廄 means unfairness. These four tones are different from the Yin, Ping, Yang, Ping, Shang and Qi tones in today's Mandarin Chinese. In Mandarin, there is no longer the word for entering the tone. The ancient Ru tone characters are partly classified as Yangping and Yinping, and partly as Shangshang and Qusheng. Since there is no entering tone in Mandarin, modern people often find it difficult to grasp the tone and tones when appreciating and composing metrical poetry.
To put it simply, the first and second tones in modern Mandarin are called flat tones, and the third and fourth tones are called oblique tones.
In today's poetry circles, there is a view on the use of ping and lei, that is, to judge ping and lei according to the tones of Mandarin, and there is no need to stick to the rhyme books of the ancients.
As for the position of flat and oblique in metrical poetry, that is, which word should use flat tone and which word should use oblique tone, the ancients have formulated strict norms in the long-term practice of poetry creation. Rhythm means strict regulation. Therefore, you only need to write the lyrics according to the rules of poetry rhythm.
The difference between metrical poetry and new-style poetry is that new poetry can be done as one wishes without any restrictions. Metrical poetry must strictly follow the rules of meter. If it violates the rhythm, it cannot be called metrical poetry. As Lao Mao said, "Rhythm poetry must be balanced and oblique, otherwise it is not rhymed poetry."
Although the meter is strict and standardized, in order to give poets a certain degree of freedom, the ancients also created some flexible formats and methods. The most common one is the common saying that "one, three, five are indistinguishable, but two, four, and six are distinct." That is, the first, third, and fifth characters of each line in the rhymed poetry do not need to follow the rules of the meter, but the second, fourth, and sixth characters Each character must be written strictly in accordance with the rules of the meter, and you cannot create it on your own. Of course, this sentence has a premise, that is, if there is no three-flat tone and three-tilt tone, one, three, and five can be ignored.
However, not everyone follows the rules of meter 100% when writing poetry. Sometimes they deliberately violate the meter, and sometimes they have to violate the meter in order not to harm the meaning of the words. For example, Li Bai's sentence "An old friend left the Yellow Crane Tower in the West" does not meet the rules. The first few sentences of Cui Hao's "Yellow Crane Tower" also fail to meet the rhythm. Li Bai's "Moonlight is bright in front of the bed" quatrain is even more unqualified. (Li Bai's "Quiet Night Thoughts" is generally classified as Gujue, so there is no question of whether it conforms to the rhythm or not, because Gujue is a type of ancient style poetry, and ancient style poetry has no metrical requirements).
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Traditional phonology and phonology have serious problems with the interpretation of the oblique and oblique systems. Misunderstanding, the biggest drawback is "explicitly interpreting the meaning of the text", and the second is swallowing up Western rhythm theory and using it as a pretext. Now is the time to clear things up.
The earliest explanation of the four tones can be found in the "Yuanhe Yunpu" quoted by Shi Shen Gong of the Tang Dynasty: "The flat tones are sad and peaceful, the rising tones are sharp and raised, the falling tones are clear and distant. The entrance of the voice is straight and quick."
There is a song in front of the "Kangxi Dictionary" called "Four Tones Method": "Don't raise your voice when you are level, and when you are shouting loudly and loudly, you can't be loud. It is clear that the mourning is far away, and the entering tone is short and urgent."
The names of the flat tone and oblique tone are misleading, and it is easy for people to mistakenly think that the flat tone seems to be "pingyan" or long and long. A heavy tone, the oblique tone seems to be an "unequal tone" or a short and heavy tone.
While following this misguidance, modern scholars devoured Western phonological theory and regarded the level and oblique system as the basis for constructing the rhythm and rhythm of Chinese poetry, which led to misleading poetry theory.
As early as the May Fourth period, Wang Guangyi said in "The Light and Heavy Rhythm of Chinese Poetry, Ci and Music": "In terms of quality, the flat tone is stronger than the oblique tone. According to the word "ping tone", its initial pronunciation is, It is extremely grand and strong, and it can always maintain its inherent intensity when it continues to be extended. Therefore, I compared the Chinese flat tones to the stress of Western languages ??and the long tones of ancient Greek, and proposed that the two tones of flat and oblique are the cause. The theory of "light and heavy rhythm" in Chinese poetry and music"
Mr. Wang Li also inherited this explanation and further developed it: "As for the first question, tone is naturally 'pitch'. is the main feature, but the length and rise and fall are also related. According to the tones in the Middle Ages, there are roughly two categories of tones in ancient times, namely the flat tone and the entering tone. It comes from the flat tone (or from the flat tone passing through the upper tone and then to the lower tone). When the process of evolving from the flat tone into the flat tone into the fourth tone is completed, according to our imagination, the flat tone will be long, not the flat tone. The three tones are short, rising or falling. In this way, they are naturally divided into two categories: "ping" means neither rising nor falling, and "廄" means neither rising nor falling. "Uneven" (such as the steepness of a mountain road) means rising and falling (the word "上" should mean rising, the word "来" should mean falling, and the word "entering" should mean short.
The ancients thought that "ping", "up", "go" and "enter" were just representative words and had no meaning. This may not be the case now. ) If our idea is good, the level tone is the long and short tone, the level tone and the rising and falling tone or the acceleration tone are used. "[Wang Li's "Chinese Poetry" p6-7]
As for the role of the rules of level and oblique, Mr. Wang Li further deduced as follows: "As for the second question, it is closely related to the use of long and short. . English poetry has the so-called light and heavy rhythms and heavy and light rhythms. English is a language with light and heavy sounds as its elements. Naturally, the rhythm of the poem is based on the rhythm of light and heavy. If, like Greek and Latin, long and short sounds are the elements, poetry does not pay attention to light and heavy rhythms or heavy and light rhythms, but instead talks about short and long rhythms or long and short rhythms. (The Greeks called one short and one long temperament iambus, one long and one short temperament trochee, two short and one long temperament anapest, one long and two short temperament dactyi, the British borrowed these four terms to call the light and heavy temperament and the heavy and light temperament , this is not very reasonable.) From this point of view, "廄廄平平" in modern Chinese poetry is a short-long rhythm, and "平廄平廄" is a long-short rhythm. Of course, the rhythm of Chinese poetry and that of Western poetry are not exactly the same, but their rhythmic principles are the same. "[Wang Li's "Chinese Poetics" p7]
In fact, as early as 1931, Mr. Zhu Guangqian wrote in his "Analysis of the Rhythm and Rhythm of Chinese Poetry (Part 1): On Sound" that Beijing Taking dialects as an example, I used phonetic knowledge to prove that there is no contrast between flat and oblique tones, long and short, flat and tortuous, and therefore the flat and oblique tones have nothing to do with the rhythm of Chinese poetry. I have also examined the actual tones of many modern dialects. , which is indeed the case, but this research method has some shortcomings. First, several dialects cannot prove that all modern dialects have the same conclusion; even if every modern dialect is examined, it cannot be proved. Ancient languages ??also have the same conclusion. Besides, this kind of textual research is too complicated and not all readers are willing to read it. It is difficult to popularize this kind of discussion.
Melody is the second of the three major elements of music. The status of beauty in the beauty of poetry and music is no less important than that of melody in music.
The melody beauty of poetry is not mysterious. It is inextricably related to the formation of the special melody of music. ; The elements and development techniques that constitute melody are very similar.
The concept of music melody can be divided into broad and narrow senses. Broad melody, that is, tune, includes "tone", "rhythm" and "melody". "Line" and "mode" are four elements. Melody in a narrow sense mainly refers to "melody line". Interestingly, the musical beauty of poetry also contains four elements: "tone", "rhythm", "tonal line" and "rhyme". "Style". Not only do the names of the two correspond one-to-one, but the status, role, development and change rules of the four elements in the melody are also very similar; especially in song creation, the two have a more flesh-and-blood connection.
The first element that constitutes the melody of music is the pitch of the tone; when the tune line formed by the ups and downs of the tone is combined with a certain rhythm and mode, the melody of the music is formed. Take drums and violins as examples. Right. The drum beats are shocking with its gentle and slow rhythm. It has no melody because it has no pitch changes. With the addition of pitch changes, the violin can move people's hearts with its melodious and melodious melody.
The first element that constitutes the beauty of the melody of poetry is of course pitch. When the intonation line formed by the ups and downs of the tones and intonation of Chinese poetry language is combined with a certain rhythm and rhyme pattern, it forms a unique Chinese poetry. The strong melody beauty.
English and Russian poems take sound intensity as the first element. Their rhythmic beauty is strong, but their melody beauty is relatively weak because they only have intonation changes and lack of tone changes. ;Although the pitch of their syllables is not static, this change is weak, monotonous and unstable, which is far less complex, graceful and rigorous than the changes in pitch of Chinese tones. In particular, it is impossible to artificially arrange the pitch changes of syllables to strengthen the melody. Beautiful. This is why foreigners praise Chinese people for speaking like singing.
Song composers have a deep understanding of the relationship between tone, intonation and melody: "When composing the musical theme of the song, we must pay attention to it. The progression of the tones should be consistent with the ups and downs of the intonation of the lyrics as much as possible, so that the emotions contained in the lyrics can be expressed naturally and the lyrics can be heard clearly. "(Note 1) "The reason why poetry and melody can be combined with each other to become an art - the art of song, is because there are factors that combine with each other, which are the depression, uplift, pause and frustration of the tone. "(Note 2) "The melody and intonation are basically the same in the way they express feelings. In fact, the tune itself contains the color of the tone. "(Note 3)
It can even be said that the melody of the song is written by imitating the rhythm of the lyrics and the cadence of the tone and intonation, and is processed through exaggeration, strengthening, adjustment and other artistic techniques. Traces of this imitation can be seen everywhere in songs, especially in local operas.
In order to let everyone see the traces of imitation more clearly, I imitated the tones of several lyrics. The form of the staff is marked on the music score, and is compared with the tune score.
For the convenience of comparison, the fifths in the pronunciation are translated into the scales "1, 2, 3, and 4" in the solfa method. , 5" [The range of the actual phonetic fifth is wider than the fifth in the music score]; the pitch changes caused by intonation are not considered for the time being, and the fluency of the tone is translated according to the actual reading.
In the rhythm of traditional poetry, there is a formula called "One, three, five, no matter what, two, four, six are clear". This formula is very consistent with the law of music melody development.
We should understand that in musical tunes, in tones and intonations, the most important thing is not their absolute pitch, but their direction of progression. Because the absolute pitch of any piece of music, tone, or intonation can be changed, but their direction of progress will not change as a result. For example, if we sing a song in the key of A, we can sing it in the key of B, C, etc., and the direction of the phrases in the music will not change; similarly, when we say the same sentence, we can raise or lower our voice, and the pronunciation of each word will not change. The direction of the tone will not change.
Musicians Mr. Yang Yinliu and Mr. Yin Faru have long been aware of the reasonable core of "One, three, five, but two, four, and six are clear" from the perspective of lyrics and music. The book "Research on Baishi's Song Creation" points out:
"Jiang Baishi's tonal system is an authentic 'flat and oblique system' rather than a four-tone system; the level of singing is also related to the later Jiangnan's flat and flat systems are the same. The flat sounds (up, come, enter) are high and the flat sounds are low. In practical application, the so-called "high and low" are not absolute pitches, but point to high and upward or downward. In terms of two different directions of progression of the line, for example, the sound formed by '廄仄' is not paired with two high notes of the same degree, but with several sound sequences from low to high; similarly, '廄仄' is paired with two high notes of the same degree. The word "double" is not paired with two basses of the same degree, but with several sound sequences from high to low.
You should know that the tones of different times and dialects are different. And the actual tone value of the tone is different. We are now going to use the actual tone value of Mandarin to analyze the tones and tones to facilitate the writing of new poems.
Tone in phonetics mainly refers to the sound of syllables. High changes are generally expressed in fifths, with "5" representing the highest degree and "1" representing the lowest degree.
In Mandarin, the flat tone includes Yin Ping and Yang Ping.
Yin Ping: Gaoping tone, the tone value is 55. It is generally a high flat tone tone, rising slightly after pronunciation, and then falling slightly, with little difference between the beginning and the end.
Yangping tone: middle rising tone, the tone value is 35. It starts lower than Yinping, gradually rises to a height of 5, and ends higher than the starting point of Yinping.
The flat tone includes the rising tone and the falling tone.
The rising tone. 214. The beginning is lower than that of Yangping, then it rises, and the end point is higher than that of Yinping.
Falling tone: 51. It starts like the end of Yangping, and then drops sharply to the lowest level of 1.
We need to talk about tone changes in particular. Many strange rules in classical poetry rhythms are often related to tone changes.
We. When you pronounce a word with one syllable, you can clearly pronounce four tones. But if you pronounce multiple syllables together, this change will occur.
There are two main types of tone changes. One is the soft tone in modern spoken language (everyone is familiar with the soft tone, I will not explain it); the other is the tone change that occurs due to physiological restrictions in spoken language. This tone change It is called "speech flow sound change". The most important change in phonetic flow in Mandarin's flat and oblique system is the change in the upper tone. Only by reading it calmly and calmly (mainly by reading it alone or at the end of a sentence) can you read its short and curved tail, while the continuous tone can be read out. When reading, it is easy to squeeze out this curved tail; specifically, the rising tone becomes a low falling tone 211 before the non-rising tone, and the rising tone approaches 35 before the rising tone. There are also many subtle phonetic changes in other tones, which have little impact on the rhythm of the poem and can be ignored.
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